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Artichoke is inviting anyone aged 18+ who is currently living in the UK to submit their bright idea for new light works for Lumiere 2023. The UK’s light art biennial will take place from 16-19 November 2023 in Durham.
The national commissioning scheme aims to encourage creativity across the UK ...
SPRING RESIDENCY SESSION January 24 - April 19, 2024 + SUMMER RESIDENCY SESSION May 22 - August 16, 2024
Deadline: April 14, 2023 11:59 PM CS
Application fee: $15
Adam Liam Rose Bemis 2021 Alumni Artist-in-Residence
STUDIOS, FACILITIES, AND RESOURCES
For four decades Bemis Center’s core mission has been to provide artists from around the world dedicated time, space, and resources to conduct research and to create new work across conceptual, material, performative, and social practices. To date, more than 1,000 artists have participated in the residency program.
Bemis offers artists-in-residence unmatched technical guidance, access to interns, and an established network of resources. Participants have the opportunity to create networks, collaborate, and share their work with fellow artists-in-residence, organizational partners, and the public. The Bemis Alumni Program extends artist support beyond their Bemis residency through Alumni Residencies, an annual Alumni Award, and Alumni Convenings.
FINANCIAL SUPPORT
Selected U.S.-based artists-in-residence receive a $250 USD weekly stipend, a $750 USD travel stipend, and an additional $2,500 USD unrestricted materials stipend. Due to the limitations of B2 visas (touring/visiting), international artists-in-residence are eligible to receive reimbursement of qualified expenses, such as airfare, ground transportation, and meals. Selected artists are responsible for organizing travel to Omaha to attend the residency.
ELIGIBILITY
Alumni Residency opportunities are open to national and international artists who have participated in Bemis Center’s Residency Program or have exhibited at Bemis after a two-year hiatus from the program. Artists who participated in the Bemis Residency Program or exhibited at Bemis prior to August 2021 are eligible to apply for a 2024 residency.
Artists enrolled in an academic program during the time of the residency opportunity are not eligible to apply.
Small collaborative groups are eligible to apply. Please note, if selected, Bemis Center is only able to accommodate two members of a collaborative group to attend the residency and live on-site.
Bemis welcomes international artists to apply. Working knowledge of English is helpful as Bemis Center is unable to offer an interpreter.
DIVERSITY, EQUITY, AND INCLUSION
Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. For special accommodations or questions about accessibility, please contact the Residency Program Manager.
ACCESSIBILITY
Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability.
The Bemis Center campus includes two buildings that are ADA compliant with barrier-free access. The main building spans six levels and houses twelve, private live/work studios between the second and third floors, each ranging in size and configuration. There are five live/work studios on the third floor with roll-in shower stalls. Communal installation workspaces are barrier-free. The private residency entrance to the first floor consists of six steps. There are seven stairs and an ADA-approved ramp to the main entrance, which also accesses the first floor. A passenger elevator operates between the first floor and fifth floor.
The Okada Sculpture & Ceramics Facility is a single-story, ground-level building located directly across the street from the main building. A cobblestone and brick city street separates the two facilities and conjoins the parking lot, which includes accessible parking spaces at the front entrance for visitors and residents. Okada includes two gender-neutral and accessible bathrooms with handrails. Workspaces can be arranged and organized to accommodate a variety of practices and needs.
The lower level, which includes the Sound Studio and LOW END, can be accessed from the east-facing public entrance by 18 steps, the first floor by 18 stairs, or via freight elevator. Located inside the Live Room, the Recording Studio is accessible through a double-door entryway. The doorway dimensions are 83" wide x 79.25" tall and has an elevated, sloping threshold that is 2" tall. The Live Room is barrier free.
In striving to create accessibility for all, Bemis welcomes inquiries from applicants with specific questions to ensure we are prepared to meet the needs of any resident. Please direct residency accessibility questions to Rachel Adams, Interim Residency Program Manager, at 402.341.7130 or Residency@bemiscenter.org.
OPPORTUNITIES AND EXPECTATIONS
Residencies are independent, self-directed, and process-based: there are no expectations placed on artists to create or perform. Residents are, however, invited to participate in at least one opportunity to engage our community, such as our public Open House / Open Studios.
Selected artists must attend a minimum of eight consecutive weeks within a residency session to be accepted. Deferring or rescheduling a residency is not permitted at this time. Late arrivals, early departures, or extended absences may result in prorated stipends.
FEES
A $15 USD non-refundable application fee is due at the time of submitting an application through SlideRoom paid via credit card or by PayPal. Submission of completed applications is only accepted online through bemis.slideroom.com. Fees related to visa processes or passport acquisition are the responsibility of the awarded artist.
Link:
Apply online at bemis.slideroom.com.
BEMIS CENTER
724 S. 12th Street Omaha, NE 68102
SPRING RESIDENCY SESSION January 24 - April 19, 2024 + SUMMER RESIDENCY SESSION May 22 - August 16, 2024
Deadline: April 14, 2023 11:59 PM CST
Application fee: $40
ABOUT THE PROGRAM
For four decades Bemis Center’s core mission has been to provide artists from around the world dedicated time, space, and resources to conduct research and to create new work across conceptual, material, performative, and social practices. To date, more than 1,000 artists have participated in the residency program.
Bemis offers artists-in-residence unmatched technical guidance, access to interns, and an established network of resources. Participants have the opportunity to create networks, collaborate, and share their work with fellow artists-in-residence, organizational partners, and the public. The Bemis Alumni Program extends artist support beyond their Bemis residency through Alumni Residencies, an annual Alumni Award, and Alumni Convenings.
Bemis Center for Contemporary Arts launched its Sound Art + Experimental Music Program in May 2019 with generous support from The Andrew W. Mellon Foundation. Embedded within Bemis Center’s renowned international Residency Program, this opportunity offers a unique experience for two artists working in sound, composition, voice, and experimental genres and tools. National and international artists participating in the program receive financial, technical, and administrative support, along with dedicated facilities for rehearsing, recording, and performing new works that expand the field of sound art and music. This is an independently-driven, process-based residency in a communal environment, fostering creative growth, experimentation, and supportive exchange. There are no expectations placed on residents to create or perform.
LOW END is Bemis Center’s music venue located in its 25,000 square foot lower level and an integral part of the Sound Art + Experimental Music Program. The unique artist-designated space includes custom seating, theatrical lighting, an anamorphic perspective stage, and industrial-grade sound equipment. LOW END features free live shows by local, national, and international sound artists, composers, and experimental musicians. These performances aim to not only build greater appreciation and new audiences for experimental forms of music but also to liberate the artists on stage to take risks and present truly avant-garde work.
STUDIOS AND FACILITIES
Located in the historic Old Market, Omaha’s arts and culture district, Bemis Center's campus accommodates a broad range of artistic activity. Two selected artists-in-residence will enjoy a generous sized, private live/work studio complete with kitchen and bathroom. Sound Art + Experimental Music artists-in-residence have 24-hour access to Bemis Center’s Sound Studio, a 1,000 square foot shared workspace that includes a variety of instruments, amps, microphones, and digital hardware and software to assist and expand creative processes. Selected residents will also have access to expansive installation and production spaces within Bemis Center’s 110,000 square foot main facility and the Okada Sculpture & Ceramics Facility, a 9,000 square foot large-scale sculpture fabrication space and workshop. A Bemis residency also includes complimentary laundry facilities, utilities, wifi, and access to an on-site research library.
FINANCIAL SUPPORT
Selected U.S.-based artists-in-residence receive a $2,000 USD monthly stipend, a $750 USD travel stipend, a $7,000 USD materials budget, and a $1,000 USD shipping budget to cover the transportation of items or equipment to and from the residency. Due to the limitations of B2 visas (touring/visiting), international artists-in-residence are eligible to receive reimbursement of qualified expenses, such as airfare, ground transportation, and meals. Selected artists are responsible for organizing travel to Omaha to attend the residency.
ELIGIBILITY
Residency opportunities are open to national and international artists 21+ years of age showing a strong professional working history. Applicants working in, but not limited to, sound art, composition, experimental music, and a variety of other disciplines where sound is the primary medium will be considered.
Bemis residency alumni are allowed to re-apply after a five-year hiatus from the program. Alumni seeking a residency must submit a complete application including recent work samples and current resume. Preference may be given to applicants who have not previously attended. Learn more about our Alumni Program.
Artists enrolled in an academic program during the time of the residency opportunity are not eligible to apply.
Small collaborative groups are eligible to apply. Please note, if selected, Bemis Center is only able to accommodate two members of a collaborative group to attend the residency and live on-site. Awarded artists in a collaborative will each receive a monthly stipend and will share the shipping and materials budget.
Bemis welcomes international artists to apply. Working knowledge of English is helpful as Bemis is unable to provide an interpreter.
ACCESSIBILITY
Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability.
The Bemis Center campus includes two buildings that are ADA compliant with barrier-free access. The main building spans six levels and houses twelve, private live/work studios between the second and third floors, each ranging in size and configuration. There are five live/work studios on the third floor with roll-in shower stalls. Communal installation workspaces are barrier-free. The private residency entrance to the first floor consists of six steps. There are seven stairs and an ADA-approved ramp to the main entrance, which also accesses the first floor. A passenger elevator operates between the first floor and fifth floor.
The Okada Sculpture & Ceramics Facility is a single-story, ground-level building located directly across the street from the main building. A cobblestone and brick city street separates the two facilities and conjoins the parking lot, which includes accessible parking spaces at the front entrance for visitors and residents. Okada includes two gender-neutral and accessible bathrooms with handrails. Workspaces can be arranged and organized to accommodate a variety of practices and needs.
The lower level, which includes the Sound Studio and LOW END, can be accessed from the east-facing public entrance by 18 steps, the first floor by 18 stairs, or via freight elevator. Located inside the Live Room, the Recording Studio is accessible through a double-door entryway. The doorway dimensions are 83" wide x 79.25" tall and has an elevated, sloping threshold that is 2" tall. The Live Room is barrier free.
In striving to create accessibility for all, Bemis welcomes inquiries from applicants with specific questions to ensure we are prepared to meet the needs of any resident. Please direct residency accessibility questions to Rachel Adams, Interim Residency Program Manager, at 402.341.7130 or Residency@bemiscenter.org.
OPPORTUNITIES AND EXPECTATIONS
Residencies are independent, self-directed, and process-based: there are no expectations placed on artists to create or perform. Residents are, however, invited to participate in at least one opportunity to engage our community, such as our public Open House / Open Studios.
Selected artists must attend a minimum of eight consecutive weeks within a residency session to be accepted. Deferring or rescheduling a residency is not permitted at this time. Late arrivals, early departures, or extended absences may result in prorated stipends.
FEES
A $40 USD non-refundable application fee is due at the time of submitting an application through SlideRoom paid via credit card or by PayPal. Submission of completed applications is only accepted online through bemis.slideroom.com. Fees related to visa processes or passport acquisition are the responsibility of the awarded artist.
APPLICATION REVIEW PROCESS
SlideRoom will confirm receipt of your submitted application. Residency applications are reviewed by a rotating panel of artists and arts professionals, such as curators, academics, and/or critics. The application review process consists of an online review followed by an on-site panel meeting. The review process takes 12–14 weeks from the application deadline. Notifications to all applicants will be sent via email after the selection panel has made its final decision. If an artist is selected for more than one session, the artist will select one session to attend.
Apply online at bemis.slideroom.com.
BEMIS CENTER
724 S. 12th Street Omaha, NE 68102
SPRING RESIDENCY SESSION January 24 - April 19, 2024 + SUMMER RESIDENCY SESSION May 22 - August 16, 2024
Deadline: March 31, 2023 11:59 PM CST
Application fee: $40
ABOUT THE PROGRAM
For more than four decades Bemis Center’s core mission has been to provide artists from around the world dedicated time, space, and resources to conduct research and to create new work across conceptual, material, performative, and social practices. To date, more than 1,000 artists have participated in the residency program.
Bemis offers artists-in-residence unmatched technical guidance, access to interns, and an established network of resources. Participants have the opportunity to create networks, collaborate, and share their work with fellow artists-in-residence, organizational partners, and the public. The Bemis Alumni Program extends artist support beyond their Bemis residency through Alumni Residencies, an annual Alumni Award, and Alumni Convenings.
STUDIOS AND FACILITIES
Located in the historic Old Market, Omaha’s arts and culture district, Bemis Center's campus accommodates a broad range of artistic activity. Selected residents will also have access to expansive installation and production spaces within Bemis Center’s 110,000 square foot main facility and the Okada Sculpture & Ceramics Facility, a 9,000 square foot large-scale sculpture fabrication space and workshop. A Bemis residency also includes complimentary laundry facilities, utilities, wifi, and access to an on-site research library.
FINANCIAL SUPPORT
U.S.-based artists-in-residence receive a $1,000 USD monthly stipend and an additional $750 USD travel stipend. Due to the limitations of B2 visas (touring/visiting), international artists-in-residence are eligible to receive reimbursement of qualified expenses, such as airfare, ground transportation, and meals. Selected artists are responsible for organizing travel to Omaha to attend the residency. Additional stipends for studio supplies or materials are not available.
ELIGIBILITY
Residency opportunities are open to national and international artists 21+ years of age showing a strong professional working history. A variety of disciplines are accepted including, but not limited to, visual arts, media/new genre, performance, architecture, film/video, literature, interdisciplinary arts, music composition, and choreography.
Bemis residency alumni are allowed to re-apply after a five-year hiatus from the program. Alumni seeking residency must submit a complete application including recent work samples and current resume. Preference may be given to applicants who have not previously attended. Learn more about our Alumni Program.
Artists enrolled in an academic program during the time of the residency opportunity are not eligible to apply.
Small collaborative groups are eligible to apply. Please note, if selected, Bemis Center is only able to accommodate two members of a collaborative group to attend the residency and live on-site.
Bemis welcomes international artists to apply. Working knowledge of English is helpful as Bemis Center is unable to offer an interpreter.
ACCESSIBILITY
Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability.
The Bemis Center campus includes two buildings that are ADA compliant with barrier-free access. The main building spans six levels and houses twelve, private live/work studios between the second and third floors, each ranging in size and configuration. There are five live/work studios on the third floor with roll-in shower stalls. Communal installation workspaces are barrier-free. The private residency entrance to the first floor consists of six steps. There are seven stairs and an ADA-approved ramp to the main entrance, which also accesses the first floor. A passenger elevator operates between the first floor and fifth floor.
The Okada Sculpture & Ceramics Facility is a single-story, ground-level building located directly across the street from the main building. A cobblestone and brick city street separates the two facilities and conjoins the parking lot, which includes accessible parking spaces at the front entrance for visitors and residents. Okada includes two gender-neutral and accessible bathrooms with handrails. Workspaces can be arranged and organized to accommodate a variety of practices and needs.
The lower level, which includes the Sound Studio and LOW END, can be accessed from the east-facing public entrance by 18 steps, the first floor by 18 stairs, or via freight elevator. Located inside the Live Room, the Recording Studio is accessible through a double-door entryway. The doorway dimensions are 83" wide x 79.25" tall and has an elevated, sloping threshold that is 2" tall. The Live Room is barrier free.
In striving to create accessibility for all, Bemis welcomes inquiries from applicants with specific questions to ensure we are prepared to meet the needs of any resident. Please direct residency accessibility questions to Rachel Adams, Interim Residency Program Manager, at 402.341.7130 or Residency@bemiscenter.org.
OPPORTUNITIES AND EXPECTATIONS
Residencies are independent, self-directed, and process-based: there are no expectations placed on artists to create or perform. Residents are, however, invited to participate in at least one opportunity to engage our community, such as our public Open House / Open Studios.
Selected artists must attend a minimum of eight consecutive weeks within a residency session to be accepted. Deferring or rescheduling a residency is not permitted at this time. Late arrivals, early departures, or extended absences may result in prorated stipends.
FEES
A $40 USD non-refundable application fee is due at the time of submitting an application through SlideRoom paid via credit card or by PayPal. Submission of completed applications is only accepted online through bemis.slideroom.com. Fees related to visa processes or passport acquisition are the responsibility of the awarded artist.
For more information, please visit bemiscenter.org/apply
BEMIS CENTER
724 S. 12th Street Omaha, NE 68102
The 2023/2024 AIR program discipline is PAINTING/DRAWING.
DEADLINE: MONDAY, MARCH 20, 2023 at Midnight EST
The Munson-Williams-Proctor Arts Institute Artists-in-Residence program (AIR) is an education-based residency that allows one to two emerging artists to live, work, and teach on the Munson-Williams and PrattMWP College of Art & Design campus in Utica, New York for one academic year.
The AIR program is designed for emerging artists or recent visual arts MFA graduates interested in working in art education in community arts and college curricula while receiving support to develop a vibrant, self-directed studio practice. A successful AIR applicant works in PAINTING and/or DRAWING within the traditional and/or expanded field. A mastery of 2D foundation principles is desired.
Programming includes presenting a public lecture, teaching community arts education classes, holding a public open studio event, and designing and implementing accessible community projects with various departments on campus. Artists receive financial support, housing, meals, studio, and an exhibition in the Museum of Art.
THE RESIDENCY:
Questions? Contact ataylor@mwpai.edu
The residency suits self-directed, motivated, and education- oriented artists that have an energetic willingness to make artwork and participate in campus and community life with genuine interest in gaining educational experience.
ARTISTS IN RESIDENCE RESPONSIBILITIES:
STUDIO DETAILS:
Studios are provided to resident artists. The artist-in-residence receives a private studio space on the second floor of the ceramics studio building along with other faculty and has 24/7 access.
Artists are responsible for bringing all specialty equipment, tools, and supplies used in their daily studio practice (including computers) to the residency. If an applicant has a special interest in facilities outside of the specific discipline, please indicate in the application form. Please find a brief overview of other campus facilities HERE.
HOUSING + MEALS:
A private second-floor apartment is provided. The furnished, two-bedroom apartment includes living area, kitchen, and closets and is in the heart of the Munson-Williams and PrattMWP campus. The apartment is equipped with some kitchen basics and wifi. Resident artists are responsible for their own laundry and should bring their own queen-sized bed linens, bed pillows, blankets, and towels.
Please Note: The apartment is located on the second floor and is not handicapped-accessible. The AIR program is unable to accommodate families, spouses, or long-term guests at this time. However, artist partners or collaborators will be considered if all parties apply individually. Please clearly note any collaborators within the application writing portions. The program and studios are intended for the artists awarded and selected by the jury.
A Dining Hall meal plan is also provided and includes 19 meals a week when college is in session.
STIPENDS + PAY (USD):
AIR receive two guaranteed stipend payments of $1,250, one in September and one in January for a total of $2,500 to help offset the costs of living and supplies.
AIR teaching non-credit classes and/or workshops in our Community Arts Education program will be paid compensation as a Community Arts Education Instructor. Classes are subject to enrollment guidelines which means they may be canceled if they do not reach minimum enrollment. Opportunities to teach a credit bearing course in the PrattMWP program is dependent on enrollment. Details and pay discussed with finalists.
Munson-Williams provides up to $500 in travel to the residency, $600 in support for the spring exhibition, and up to $500 towards shipping of artworks at the end of the residency.
Munson-Williams provides compensation for three to four Art Alive Family Day events and craft design at approx $300 per event.
Munson-Williams provides a private apartment and utilities, a studio, and a meal plan that covers 19 meals a week during PrattMWP college semesters. Munson-Williams is not responsible for arranging artist transportation to and during residency or additional costs of living.
PROGRAM ELIGIBILITY:
The 2022/23 AIR program discipline is PAINTING/DRAWING. A successful AIR applicant works in PAINTING and/or DRAWING within the traditional and/or expanded field. A mastery of 2D foundation principles is desired. Applicants are MFA preferred. Applicants may not be enrolled in any degree program at time of residency. Disciplines rotate each academic year. One artist is in residence per year. Artist partners or collaborators (up to 2) will be considered if both parties apply individually. Please clearly note any collaborators within the application writing portions.
International artists, please take the following into consideration: International artists are responsible for obtaining a visa, as well as necessary documentation for travel and employment within the United States. Munson-Williams can provide formal letters of invitation and additional support information requested, however it is the artist's responsibility to carry the burden of the visa acquisition process through the appropriate channels. Please consider the timeline for making such arrangements. Artists must be reasonably fluent in English.
Munson-Williams is a recognized program by International Arts & Artists, a non-profit organization that sponsors J-1 visas for international interns, trainees, and scholars participating in cultural exchanges with American arts institutions. More info at www.artsandartists.org .
COVID-19 Vaccination Status
All employees, including AIR, in every division must provide sufficient proof of full vaccination with an “authorized COVID-19 vaccine” to the Human Resources department. An “authorized COVID-19 vaccine” is an FDA-authorized vaccine or a vaccine authorized for emergency use by the World Health Organization. Vaccines that are not authorized or approved by the FDA cannot be used to fulfill the requirements of this Policy.
SELECTION PROCESS:
Artists are reviewed by a staff and faculty committee based on the visual quality of artwork, written proposals, trajectory of career, and potential to thrive living in Utica and working within the AIR program parameters. The selection process has three phases:
Phase 1: All applications and advisory committee recommendations are reviewed by the Munson-Williams AIR Selection Committee which includes the School of Art and Museum of Art Faculty and Staff. Up to 10 finalists are chosen and all applicants are notified via email of their status.
Phase 2: The finalists are notified of their status via email. Zoom interviews are scheduled for each candidate with the Munson-Williams AIR Selection Committee.
Phase 3: Finalists may be interviewed again and/or invited to visit Munson-Williams before being offered residency. The review process can take up to three months from the deadline. All applicants will be notified of their status by email. Please do not call the office for selection results.
APPLICATION FEE and INSTRUCTIONS:
DEADLINE: MONDAY, MARCH 20, 2023 at Midnight EST
There is a non-refundable application fee of $10. Applications are only accepted online through Submittable.com. Finalists may be invited for an onsite visit prior to accepting residency and may be compensated for a portion of travel. There is no fee for residency participation.
Please email ataylor@mwpai.edu for application fee waiver consideration.
This is an entirely online application process. It is recommended that answers are prepared offline, saved in a document, and copied/pasted into the application form so that work is not lost. Do not email or mail your application.
APPLICATION CHECKLIST:
Please prepare and submit the following:
1. Applicant Information
2. CV (pdf)
3. Three professional references and contact information (References will only be contacted following finalist interviews)
4. Artist Statement (250 Words)
5. Statement of Intent (250 Words: Why is this specific residency program a good fit for you?)
6. Non-credit class teaching proposals (250 Words: one to three short descriptions of ideas. These are non-binding.)
7. Artist website (optional)
8. PAINTING/DRAWING Artwork Samples:
Note: Finalists may be asked for additional materials as a part of the review process.
The Munson-Williams-Proctor Arts Institute Artists in Residence Program is made possible with the generous support of Sunithi S. Bajekal.
About Munson-Williams-Proctor Arts Institute:
Munson-Williams is a multicultural arts center with three main divisions: Museum of Art, School of Art and Performing Arts. Together, the programs of the three divisions make Munson-Williams the chief provider of cultural resources in the region. The Museum of Art is renowned for its art collection and Phillip Johnson-designed building. The School of Art offers the nationally accredited PrattMWP foundation program in its affiliation with Pratt Institute and a community arts education program offering art classes and workshops. The Performing Arts division offers a wide-ranging, year-round programming of artistically excellent and diverse performing arts and cinema presentations, as well as extensive educational activities.
PrattMWP College of Art and Design is an NASAD accredited foundation college art program, created through an affiliation between Munson-Williams-Proctor Arts Institute, Utica, NY, and Pratt Institute, Brooklyn, NY. Students do their first two foundation years of a Bachelor of Fine Arts degree here at our campus and then matriculate to the Brooklyn campus for completion. The campus houses approximately over 200 students majoring in Fine Arts, Communications Design, Photography, and Art and Design Education. Visit the PrattMWP website for more information about the college.
Munson-Williams is located in the heart of New York State, foothills of the Adirondack Mountains and centrally located with easy travel to Cooperstown, Albany, Syracuse and a few hours from Boston, NYC, Lake Placid, and Montreal. Please visit us at www.mwpai.org.
Munson-Williams is a community-centered, anti-racist organization where we foster diversity, equity, and inclusion through action.
LINKS:
Artists in Residence Program Details >>
PrattMWP College of Art & Design Virtual Tour >>
Munson-Williams-Proctor Arts Institute >>
Follow us on Instagram:
@prattmwpcollege @mwpai @artistresidencymwp @studyhallgallery
For full program information, please visit: [https:]]
To apply now: [https:]]
deadline
05 Feb 2023
deadline
06 Feb 2023
Digital America is accepting submissions for our 21st spring issue. We’re an online arts journal that focuses on digital art and culture with an eye toward impactful perspectives and interpretations of what it means to live in our current political, social, and cultural climate. We publish video art, internet art ...
deadline
01 Feb 2023
– online course by Marysia Lewandowska for the School for Curatorial Studies Venice.
14 –30 March 2023
Dead line for applying: March 4, 2023
www.corsocuratori.com
www.curatorialstudiesveniceonline.com/
The digital age has shown us how easily knowledge and information are now able to flow and circulate. It has rendered equally visible how hard it is especially for artists to challenge the dominant online presence with their commitment to printed matter and publishing. This workshop will engage with publications arguing for their role in creating a wider public. We will be discussing contemporary conditions of production, circulation, and distribution which insist on including questions of ownership, usership and belonging as concerns integral to the artistic practice itself. My experience with publishing lies at the intersection of art, intellectual property, and open culture involving alternative economies & digital ecologies, the commons, media & collectivity – all contributing to creating a sustainable public realm.
We will be focussing on expanding an ethics of curatorial practice, with a particular emphasis on alternative modes of research and indigenous knowledge. We might begin by asking questions like: What is the relationship between ethics, research, publishing and the
institutionalised practices of curating? Can the institution exert moral agency? How does this change the way we practice as artists, curators and researchers and by extension shapes how we speak, read, write?
Through a series of interactive lectures hold by Marysia Lewwandowska, students will be able to turn to an alternative conception of publishing within artistic practices as the centre of this discussion, one which prioritises not information or formal knowledges but is
embedded in the communal. We will enquire about forms of coming together through publishing not predetermined by outcomes but by a shared process of enquiry and a set of diverse interests.
STRUCTURE: The course is taught remotely and divided into 6 units. Online Study Lectures effectively run over the week – Tuesday and Thursday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.
Session 1. 14 March 2023
Archival knowledge as public awakening.
Session 2. 16 March 2023
Exhibiting Art History. Aby Warburg - Mnemosyne Atlas.
Session 3. 21 March 2023
Artists/Publishers.
Session 4. 23 March 2023
Distributed practices. Forms of ownership.
Session 5. 28March 2023
Online Viral Networks.
Session 6. 14 March 2023
Publication as Activism.
TEACHING: The remote learning experience includes lectures, seminar participation and discussions. The course provides unique opportunities for direct student engagement with arts professionals, as well an extensive array of discussion forums. The teaching is intensive and supportive, with an emphasis on individual learning, and on developing a broad range of knowledge and understanding related to curating and its ethics.
FACULTY: The lectures will be hold by Marysia Lewandowska. She is a Polish-born artist based in London since 1985. She has been exploring the public functions of archives, museums and exhibitions often resulting in conceptually driven projects and films involving
the property of others. These works propose new relations between forms of knowledge and ownership, activating reflections on the social and immaterial public realm. In 2009 she has established the Women’s Audio Archive followed by a publication Undoing Property? co-edited with Laurel Ptak in 2013. Her work has been presented by Tate Modern, Moderna Museet, Muzeum Sztuki, Whitechapel Gallery. The latest installation It’s About Time occupied the Pavilion of Applied Arts at the 58 th Art Biennale in Venice. The Museum of Modern Art in Warsaw has recently included the Enthusiasts Archive project in their collection. She is currently collaborating with Kunsthalle Baden Baden on re-thinking institutional practices for the post-pandemic times.www.marysialewandowska.com
THE FEE: The fee per course is 590 euro. In case you choose to take part to more than one course, a discount of 100 euro will be applied to the fee of the next courses.
School for Curatorial Studies Venice
Xac / Corso in pratiche curatoriali e arti contemporanee
San Marco 3073
Venice 30124
www.corsocuratori.com
curatorialschool@gmail.com
Tel: +393477122456
deadline
01 Feb 2023
deadline
31 Jan 2023
Deadline 30 April 2023
Call for entries
In 1924, André Breton published the Manifesto of Surrealism, initiating one of the essential art movements of 20th century – the Surrealism. Although the art movement had its end in the sixties of 20th century, Surrealism survived because some essentials became a genetic code of contemporary art.
100 years later, The Motto of the Year 2023 – at The New Museum of Networked Art – is dedicated to this genetic code taking influence on videoart –
Vacations in the SubconsciousIt is planned to realize during the year 2023 at least four (4) video art programs based on an open call dedicated to the genetic code of Surrealism in art & moving images to be presented @ Alphabet Art Centre.
The open call is looking for videos using the medium – dealing with the diverse layers of reality and its alienation in an experimental, innovative, provocative, disturbing and very contemporary way.
Artists working with digital video are invited to submit max 3 videos in mp4 HD format – deadline 30 April 2023.
Regulations– deadline: 30 April 2023
– no age limit
– no entry fee
– elegible media –
– video mp4 HD – single channel – max. 10 minutes (exceptions possible) – extracts/trailers are not accepted!
– submissions exclusively online by using WETRANSFER – [https:]]
– max 3 work can be submitted
– creations using language and/or text other than English need English subtitles
– reqired – videos using the medium – dealing with the diverse layers of reality and its alienation in an experimental, innovative, provocative, disturbing way.
Entry Form – please cut and paste
Please use for each piece to be submitted a new entry form
1.
artist/director
a) full name
b) full address
c) email, URL
d) short bio (max. 100 words, English only)
2.
please select
2. film/video
a) title English – original (max 3 works)
b) URL home page, (Internet address for download)
c) year of production
d) duration
e) work synopsis (max. 100 words/submission, English only)
f) 2 screenshots for each submitted work (jpg, HD 1920×1080 px)
Please add this declaration & sign it with your full name & email address
I, the submitter/author, declare to be the holder of all rights on the submitted work.
In case the work is selected, I give – until revoke – The New Museum of Networked Art the permission to include the work in the project context online and in physical space for screenings /exhibitions and the use of screenshots for non-commercial promotional purposes free of charge. Until revoke means, that the author can remove his work at any time. The work will be removed within 3 months.
//
Please use this email address for submitting
artvideokoeln (at) gmail.com
and following subject line “The Surrealist Manifesto”
The New Museum of Networked Art
Alphabet Art Centre
[alphabet.nmartproject.net]
Accepting proposals for group exhibitions anywhere outside New York: February 1 - March 1, 2023
Deadline: March 1, 2023
Application fee: N/A
apexart will accept proposals for its International Open Call from February 1 - March 1, 2023. Four winning proposals will become apexart exhibitions presented in their selected locations around the world as part of our 2023-24 exhibition season. Curators, artists, writers, and creative individuals, regardless of location or past experience, are invited to submit a proposal online.
The submission process:
Proposals of up to 500 words should describe focused, idea-driven, original group exhibitions, and the country and city in which they are to take place. No biographical information, CVs, links, or images will be accepted, and proposals must be submitted in English. Jurors rate anonymous submissions based on the idea only. See examples of winning proposals here.
The selection process:
Rather than convene a panel of a few art world people to review hundreds of ideas, apexart’s crowd-sourced voting system invites hundreds of international jurors to review proposals on their own schedule. The crowd-sourced jury is composed of more than 600 individuals from a wide variety of professional backgrounds and international locations—including students from 17+ participating university classes—who will vote on the proposals. Proposals are anonymous and randomized to make sure each submission receives the same consideration. apexart staff does not influence the results of the jury in any way.
The results:
The four winning proposals will each receive an exhibition budget of up to $11,000; have an exhibition brochure printed and mailed to over six thousand international recipients; advertising in major and local outlets; and will be part of apexart’s 2023-2024 exhibition season. Working closely with the apexart team, curators will realize their original ideas into apexart exhibitions. Exhibition curators are challenged, encouraged, and required to work within the funding provided to transform their winning proposals into small, focused, noteworthy exhibitions.
To submit an exhibition proposal, visit [https:]] between February 1 and March 1, 2023.
Application Link: [https:]]
Deadline
Artwork entries accepted now through April 8
Mail International Entries by April 1 / U.S. by April 11
Application fee
Free
Each summer Rochester Contemporary Art Center’s 6x6 exhibition brings together thousands of original artworks, made and donated by celebrities, international & local artists, designers, youth and YOU. Each artist may enter up to four artworks of any medium except glitter (2D or 3D). Artworks must be six inches square (15cm) and signed only on the back, to be exhibited anonymously. Participation is free. All artworks will be exhibited and for sale to the public for $20 each to benefit RoCo. Artists’ names will be revealed to the buyer upon purchase and all artworks remain on display through the end of the exhibition on July 23. Limit four artworks per school or school group (no limit for colleges).
Entry is FREE
Drop off artworks at RoCo during normal gallery hours Wed-Sat 12-5pm/Friday 12-9pm or mail artworks by April 11 to:
Rochester Contemporary Art Center
137 East Ave
Rochester, NY 14604
USA
6x6 will be on view in person and online June 3 - July 23,2023!
Link
roco6x6.org
Deadline: 1 May 2023
Call for Entries
IBRIDA
is a festival of intermedial arts which started in 2015 for the purpose of investigating and divulging the most recent productions and research carried on in the field of experimental audiovisual (video art, found footage, metacinema, 2D and 3D animation, etc.). The festival naturally includes performance art and electronic music. Ibrida thrives on the seeds planted by Re/Azione (our first event). In 2016 the duration was extended and more venues in the town of Forlì were added to the first one, the Candle Factory, as the festival was very well received by the audience and the professionals. Ibrida Festival is curated by Vertov Project. Its artistic directors are Francesca Leoni and Davide Mastrangelo.
Date
September 5 – 9, 2023
EXATR
16 Via Ugo Bassi
Forlì, Emilia-Romagna 47122
Italy
Awards & Prizes
Ibrida is about artistic contaminations and works that mix different kinds of mediums.
𝐕𝐢𝐝𝐞𝐨 𝐀𝐫𝐭 – 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐕𝐢𝐝𝐞𝐨
In this category we will have the International Video Art Prize “𝐈𝐛𝐫𝐢𝐝𝐚 𝐏𝐫𝐢𝐳𝐞”, I edition, with an international jury.
Rules & Terms
Ibrida, festival of Intermedia arts is launching an open call for the 2023 edition. Ibrida Festival will be held the 𝟓, 𝟔,𝟕,𝟖,𝟗 𝐨𝐟 𝐒𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫 in 𝐄𝐗𝐀𝐓𝐑 Forlì (Italy).
𝐑𝐞𝐠𝐮𝐥𝐚𝐭𝐢𝐨𝐧𝐬:
– 𝐃𝐞𝐚𝐝𝐥𝐢𝐧𝐞: 𝐦𝐚𝐲 𝟏𝐬𝐭 𝟐𝟎𝟐𝟑
– Each artist may submit up to 3 works, also in different media.
– Submission form FILM FREEWAY
– The festival doesn’t pay any fees for the projection of the video.
– For the live performances the festival offers: fee, food and accommodation during festival, travel and expenses support. Invitation letter, under request.
– 2023 Special International Prize for video art
What we are looking for:
Video art – Experimental film (max. 10 minutes)
Performance live ( min. 25 – max 50 minutes)
Virtual reality – Augmented reality
𝐕𝐢𝐝𝐞𝐨 𝐀𝐫𝐭 – 𝐄𝐱𝐩𝐞𝐫𝐢𝐦𝐞𝐧𝐭𝐚𝐥 𝐕𝐢𝐝𝐞𝐨: video (duration: min. 1 minute, max. 10 minutes, preferred HD, .mp4 or .mov -H264 codec) – we are looking for videos using the audio-visual medium in an innovative way and that mix different kinds of media.
𝐀𝐮𝐠𝐦𝐞𝐧𝐭𝐞𝐝 𝐫𝐞𝐚𝐥𝐢𝐭𝐲 – 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐑𝐞𝐚𝐥𝐢𝐭𝐲 (preview online)
𝐋𝐢𝐯𝐞 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞 – 𝐋𝐢𝐯𝐞 𝐂𝐢𝐧𝐞𝐦𝐚: Performance art that interact with videos – AV performance
Entries via Freeway
[https:]]
deadline
05 Feb 2023
deadline
25 Jan 2023
deadline
31 Jan 2023
FRAME cattura Round Balance di Tanya Preminger, opera di land art che esprime, in forma materiale, la legge filosofica della vita, dell’equilibrio tra i lati opposti di un’entità.
Tanya Preminger, Round Balance, 2008, immagine via
L'articolo FRAME > Round Balance proviene da Arshake.
VIDEO POST rilancia BEYOND HUMAN / JAZZ POPCORN ROBOT del performer, musicologo, e ingegnere robotico Moritz Simon Geist, batteria robotica interamente controllata da popcorn rilevati da elementi piezoelettrici, convertiti in MIDI, trasferiti a un sistema robotico e suonati dal vivo sulla batteria senza l’interferenza di un compositore umano.
Moritz Simon Geist, BEYOND HUMAN / JAZZ POPCORN ROBOT, 2021
L'articolo VIDEO POST > JAZZ POP CORN proviene da Arshake.
La storia dell’arte è da intendere “come un meraviglioso film critico,
senza principio né fine, eppure perfettamente escatologico”.
Pier Paolo Pasolini
In un allestimento pensato come una sequenza di immagini, propria della storia dell’arte quanto del montaggio cinematografico, gli oggetti del passato sembrano sopravvivere al tempo e persistere nell’immaginario contemporaneo. Un assemblage visivo fatto di opere pittoriche, fotografie, riproduzioni, fotogrammi tratti da film, libri e riferimenti testuali a dimostrare, come scriveva Pasolini, “la violenza di una resistenza”, quella delle immagini.
Alle Gallerie Nazionali di Arte Antica, in occasione del centenario della nascita di Pier Paolo Pasolini (Bologna, 5 marzo 1922 – Roma, 2 novembre 1975), è in corso fino al 12 febbraio la mostra Pier Paolo Pasolini. TUTTO È SANTO – Il corpo veggente, a cura di Michele Di Monte. La mostra è realizzata all’interno del progetto espositivo Pier Paolo Pasolini. TUTTO È SANTO che vede le Gallerie Nazionali di Arte Antica, l’Azienda Speciale Palaexpo di Roma e il MAXXI analizzare il tema della corporeità secondo tre direttrici autonome e complementari.
Il corpo era, per Pasolini, luogo di resistenza, come le immagini. Le immagini de “La maniera italiana”, testo critico di Giuliano Briganti che il regista usava come riferimento per i suoi tableaux vivants ne “La ricotta”, come rimando esplicito alla plasticità corporea di Pontormo. Un immaginario visivo alimentato dalle lezioni di storia dell’arte di Roberto Longhi, che un giovane Pasolini studente seguiva, nel 1940, all’Università di Bologna.
Il corpo è popolare, è dolorante, è passionale, scandaloso. “Il corpo: ecco una terra non ancora colonizzata dal potere” scriveva Pasolini (in Saggi sulla politica e sulla società).
Il corpo è quello delle periferie del secondo dopoguerra, delle borgate romane che nel 1957 contavano, secondo un’inchiesta del Comune di Roma, più di tredicimila alloggi precari, baracche e ruderi. Come le fotografie di Franco Pinna e le sue ricerche antropologiche ed etnologiche, Pasolini raccontava le storie di quegli emarginati, di chi in quegli alloggi e in quelle grotte abitava. Un racconto che prendeva in prestito alla pittura di genere la rappresentazione della grettezza, e alla pittura medioevale il racconto patetico del dolore e del cordoglio.
Alle pareti le fotografie dei set dei film di Pasolini, da “Accattone” a “La ricotta”, da “Medea” a “Il Vangelo secondo Matteo”, insieme alle inchieste di Ernesto di Martino, ai fotogrammi di Cecilia Mangini, fino ai ritratti caravaggeschi e alle pietà doloranti.
È una mostra dal forte carattere didattico, un dialogo a più voci, un rimando continuo tra passato e presente. È una narrazione cinematografica, letteraria e pittorica allo stesso tempo, che usa lo strumento del flashback per confermare la lezione di Aby Warburg sulla persistenza delle immagini nella storia umana.
Pier Paolo Pasolini. TUTTO È SANTO – Il corpo veggente, a cura di Michele Di Monte Gallerie Nazionali di Arte Antica, Palazzo Barberini, Roma, 28.10.2022 – 12.02.2023 La mostra è parte di un progetto dedicato a Pier Paolo Pasolini, coordinato e condiviso tra Gallerie Nazionali di Arte Antica, Azienda Speciale Palaexpo di Roma e il MAXXI Museo nazionale delle arti del XXI secolo.immagini (tutte): Pier Paolo Pasolini. TUTTO È SANTO – Il corpo veggente, panoramica installazione, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Roma, 28.10.2022 – 12.02.2023
L'articolo Pier Paolo Pasolini. Tutto è santo – Il corpo veggente proviene da Arshake.
deadline
01 Mar 2023
deadline
31 Jan 2023
Il mirabilia, come sappiamo, è un genere letterario di origine medievale ascrivibile alle moderne guide di viaggio che aiutano l’esploratore ad orientarsi in posti mai visti prima fino ad allora. Silvia Camporesi, traducendone il senso nel medium fotografico plasma un’Italia inconsueta, a tratti weird e stravagante, a tratti affascinante e favolosa. L’enorme progetto in costante itinere, di cui in questa sede immateriale possiamo scorgerne qualche frammento, per quanto «progetto fotografico» e fortemente caratterizzato da una tecnica ineccepibile che trasforma ogni impressione in qualcosa di «bello» e contemplativo, ha nel suo concettualismo intrinseco la sua chiave di lettura più attraente: la pratica del viaggio che diviene parte della pratica artistica. Performance motoria che diviene visiva e che traducendosi nell’occhio della macchina fotografica si trasforma in celebrale.
Le fotografie sono «impressioni» per loro stessa natura, quindi più facilmente traducibili nell’immateriale digitale, ma le opere di Camporesi lo sono ancora di più, perché immateriali in potenza, racchiudendo in esse il viaggio che le ha create. Sono a loro agio tra i bit esistenziali in quanto anch’esse sono prodotte da unità discrete che tutte insieme si trasformano in «archivio», o meglio database, elemento che dà effettivamente senso allo spazio digitale (cos’è Internet se non un immenso archivio).
Concentrandoci sulla mostra in questione, dobbiamo scindere l’esperienza in due importanti focus legatissimi tra loro ma a volte discordanti (pratica tipica ma in questo caso ancora più importante dato che stiamo parlando di una mostra digitale di opere, in questo caso digitali, ma esistenti anche analogicamente su supporti fotografici): le opere in mostra e il display espositivo.
Per quanto riguarda le opere in mostra ci si trova sormontati da immagini curiose, portatrici di significati culturali e antropologici, che non trovano il loro senso semplicemente nel fatto che non avremmo neppure mai pensato che questi paesaggi possano trovarsi nel nostro Bel Paese, ma vanno ben oltre, scandagliando questioni profonde su cosa siamo e cosa siamo stati: architetture industriali insolite, paesaggi spettrali e pieni di pathos e tragedia, scene metafisiche, prospettive affascinanti di posti incantati, abitazioni che sembrano necropoli e necropoli che sembrano condomini, fusioni ardite tra montagna e casa, vite sommerse, nel paesaggio toscano, ed emerse, in quello sardo, architetture fortemente ornamentali che sono vere e proprie opere d’arte eclettiche, al pari delle riproduzioni fotografiche delle sculture del centro Italia, quasi freudiane, collezioni dal fascino inconsueto, quasi astratto, e infine immagini dal sottosuolo, tra le più intriganti, con il Parco di Villa Rossi a Santorso (Veneto) e Villa Guastavillani a Bologna.
Chiaramente queste riproduzioni digitali si sarebbero potute «esporre» in maniera più banale e «archivistica», così come riproduzioni di questo genere si possono trovare sulla maggior parte dei siti Internet, ma la «messa in mostra» vera e propria, seppur in forma esclusivamente digitale, ne potenzia il fascino, costruendo una vera e propria curatela immateriale, così come allo stesso tempo ne mette in crisi il senso, attraverso una gamification che punta sulla superficiale curiosità. Le opere in questione, certo, possono permettersi il rischio, con la loro componente weird sempre accentuata (pensiamo a come il weird domini le logiche digitali ancor più di quelle analogiche, e soprattutto le logiche artistiche) seppur non preponderante (se così non fosse nello spazio digitale queste opere si trasformerebbero in qualcosa di molto simile ad un meme, quintessenza del weird). Questa loro forza espressa tanto bene nell’analogico così come nel digitale, trasforma l’esposizione di bit in azione tangibile, facilitando anche l’avvicinamento di un pubblico che magari non ha mai avuto modo di incontrare strettamente la poetica di Camporesi (un’azione digitale di questo genere, la visita di una mostra d’arte, è fortemente intima, a differenza della sua controparte analogica). Le caratteristiche delle opere stesse, molto più dell’«esposizione» in sé, rendono il progetto vincente, più riuscito della maggior parte delle esposizioni digitali a cui siamo abituati.
Ad ogni modo, però, ad ogni nuova mostra digitale, sorge sempre lo stesso dilemma: un’esposizione digitale ha davvero la necessità di essere una riproduzione di un’esposizione analogica? O forse un’esposizione digitale dovrebbe puntare sulle caratteristiche intrinseche di questo spazio, composto da link che piegano lo spazio-tempo, simulacri di noi stessi e una logica fortemente fondata sull’archiviazione?
Silvia Camporesi, Mirabilia, Photology Online Gallery, fino al 28 febbraio 2023.immagini (tutte): (all) Silvia Camporesi, Mirabilia, exhibition view, Photology Online Gallery
L'articolo Silvia Camporesi. Mirabilia proviene da Arshake.
deadline
09 Feb 2023
deadline
28 Feb 2023
Apply now!
Deadline: February 15, 2023, midnight
Application fee: $25.00 US Dollars
Vermont Studio Center (VSC), founded in 1984, is an international residency program for visual artists and writers in Johnson, a village nestled in the Green Mountains of northern Vermont. VSC’s mission is to provide studio residencies in an inclusive, international community honoring creative work as the communication of spirit through form. VSC’s Visiting Artist & Writer Program invites renowned visual artists and writers to join VSC’s creative community to mentor residents, present readings and give talks, which are free and open to the public. All residents are provided with private accommodations, studio space, all meals, and access to local amenities.
Applications accepted January 10 – February 15, 2023 via SlideRoom.
To apply, please follow all application guidelines and submit a $25 application fee.
Questons: info@vermontstudiocenter.org or 802-635-2727
Link: [https:]]
deadline
06 Feb 2023
The Newcomb Art Department offers a Master of Fine Arts degree in an intensive, interdisciplinary, two-year residency program that emphasizes close interaction with dedicated faculty and peers, and engagement with New Orleans’ unique cultural landscape. The graduate curriculum is focused on individual studio practice while also engaging students in cross-disciplinary ...
FRAME cattura un dipinto che evoca le qualità calligrafiche di Cy Twombly realizzato da Spot, robot a forma di cane che tiene in bocca dei bastoncini di vernice mentre compie movimenti controllati sotto la guida diretta di Agnieszka Pilat. Spot è uno dei due robot della Boston Dynamics conosciuti da Pilat quando hanno funzionato da modelli per le sue pitture e poi adottati ad apprendisti, come ‘estensioni delle sue braccia’. “Tutti i gesti dei miei apprendisti sono ispirati dal loro controllo motorio e rivelano anche i loro limiti meccanici” (Pilat).
Agnieszka Pilat e Spot, ROBOTa, 2022, immagine via
L'articolo FRAME > ROBOTa proviene da Arshake.
VIDEO POST rilancia BITTER MEDICINE del duo di artisti mentalKLINIK, ricetta per il mondo dell’arte spinto a fare cambiamenti drastici nelle circostanze create dalla pandemia COVID-19, avviato, appunto nel primo periodo della pandemia (settembre 2020). La mostra rivelava una prospettiva urgente sulle precauzioni prese per proteggere la salute pubblica con un movimento infinito e irripetibile di un’installazione performativa trasmessa in diretta streaming 24 ore su 24, 7 giorni su 7, sul sito web e attraverso i canali social di Borusan Contemporary.
mentalKLINIK, BITTER MEDICINE #02, a cura di: NECMİ SÖNMEZ, BORUSAN CONTEMPORARY, 17.09.2020 – 31.01.2021
L'articolo VIDEO POST > BITTER MEDICINE proviene da Arshake.
Deadline: 19 January 2023
Call for entries
ONLINE ART GRANT WRITING SEMINAR
24 – 25 January 2023
REGISTRATION CLOSES on 19 JANUARY 2023 at 13:00(CET)
REMOTE APPLICATION HEALING SEMINAR + APPLICATION CHECK-UP
Join us for a 2 days live online course to learn how to demystify the funding, grant and residency application process. With 4 hours a day, you will be able to get your art grant writing skills ‘remotely healed’ through the working topics:
REMOTE APPLICATION HEALING SEMINAR
(24 Jan 2023 10:00-14:00 CET & 25 Jan 2023 10:00-11:00 CET)
– Understanding Funding Bodies
– Decision process in funding application evaluations
– Getting over your writing blockage
– Structure of funding applications
– Creating a project description
– Writing your artist statement
– Key elements, tips and tricks for a successful application
– A focused timeline
– Focused and realistic budgeting
– Tips and tricks to avoid emergency expenditure
You will also get:
– A sample project description
– Sample project budgets
– Sample artist statements
– List of places to find suitable grant givers
– Immediate answers to your questions
– Additional Q & A Session
In case you want to go deeper in the healing process and want a Health Check of Your Application, you can attend to:
APPLICATION CHECK-UP: 25 January 2023 11:30-14:00 CET (The duration might vary depending on the number of participants)
where you will be able to work on your written application text and get immediate feedback for your corrections.
* WITH A SPECIAL REDUCED RATE TO CELEBRATE THAT 2022 IS OFFICIALLY OVER!
SIGN UP FOR THE ONLINE SEMINAR
You know your art work or project is good, but you are not sure if you know the right way to make a proper project application. Berlin Art Grant Clinic aims at teaching artists, curators, NGOs and other creative minds the necessary tools for writing successful grant and residency applications. These include particular techniques, hints and tricks in all stages of an application. In these three days, you will be instructed step by step through the narrative structure. You will learn how to formulate and write a successful project description and application, prepare a portfolio, CV, write an artist statement, motivation letter, making an efficient budget and timeline.
Berlin Art Grant Clinic offers grant Diagnosis Seminars, application Operation Workshops and a private Emergency Room to support your applications. It particularly focuses on exploring ways of finding the suitable German and International application calls for your project/artwork.
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Berlin Art Grant Clinic is a support system for artists, curators, NGOs and creative minds from all fields to help them to equip themselves for a successful career in the art scene. Through its seminars, workshops and consultancy practices it fills the gap between the art schools and the professional life, and helps cultural actors to sustain their careers as well as their lives. Established in 2014, the clinic coached more than 1400 artists, curators, cultural managers and designers and helped so many of them to receive funding. With the Emergency Room, Berlin Art Grant Clinic’s success rate is 75%.
Ece Pazarbaşı, the ‘doctor’ of the clinic is working as a Guest Lecturer at Aalto University in Helsinki and teaching the content of the Clinic since 2016. She has given Grant Writing courses in numerous places including Helsinki Fine Arts Academy, Weissensee Kunsthochshcule, UdK Berlin, Mainz and Kassel Kunsthochschule as well as at bildungswerk des bbk Berlin, Transart Institute – Plymouth University, Open University, Helsinki Finland, HIAP Artist Residency, Branchentreff – Performing Arts Programm des Laft Berlin, PAP – Performing Arts Programme and Goethe Institute.
FOR MORE INFO on content, location, fees & registration:
[https:]]
[https:]]
Our mailing address is:
berlingrantclinic@gmail.com
Deadline: 27 January 2023
Call for entries
AIR program in Fablab Buinho (Portugal) 2023
Deadline: January 27th 2023
Dates & location of event context: Buinho offers a unique working experience in the historic town of Messejana, Southern Portugal. Messejana is a place of delightful contrasts, between the past aristocratic houses with its hidden, patios, the small rural dwellings, and baroque white churches. All surrounded by endless plains and old cork trees that characterize the Alentejo region. It is located in the sunniest region of Europe, providing more than 3000 hours of sunshine per year, also famous for its gastronomy, and just 1 hour and a half from Lisbon and other major cities.
The current open call is for the period April 2023 until December 2023.
Living in a rural environment is an advantage, but Buinho offers more than just a safe place. We are in the historic town of Messejana, Southern Portugal. Besides the surrounding natural landscape and heritage, our fablab and studios are equipped with all the necessary tools and equipment’s to enhance the possibilities of experimentation of our residents. Besides access to lasercut, 3D printing and other technologies, Buinho also provides free introductory courses and production assistance.
Buinho Fablab opened in 2016, and became a European reference as the only artistic residencies based on a Fablab, enabling the merging of Art, Technology and Digital Fabrication. Ever since we have received visual artists, performance artists, photographers, curators, writers, sculptors, designers, media artists, from all the different continents, confirming the eclectic nature of our program.
Today Buinho has five houses, offering private accommodation, shared and individual studios, a digital fabrication workshop, and exhibition spaces. Besides our own properties and equipment’s, we also run together with the local municipality a Precious Plastic Workshop, where resident artists can work with metal, larger sculpture pieces or installations, or recycle plastic. Together with the local school and kindergarten, we provide support to a small network of three makerspaces dedicated to tech education from 3 to 12 years old, where artists can propose activities and workshops.
Our residency program is suitable for artists from different disciplines and backgrounds, including Visual arts, Sculpture, Photography, Writing, Design, New Media, Curatorial, Performance, Research
Our staff provides weekly curatorial support to the residents, for advise, discussion and follow up of the residency project.
The residency program provides production support, and access to the equipment’s and spaces.
Buinho AIR program also provides free weekly tutorials and workshops about 3D printing, 3D modeling, CNC and laser cutting, robotics, and plastic recycling.
The program also includes weekly contacts with the locals from Messejana where we explore traditional practices as goat cheese or bread making, or visits to traditional artisans workshops. Buinho also offers some special programs and workshops to our residents, as the Precious Plastic Workshop (for recycling plastic), or our special education branch called Buinho Education (digital empowerment of local children and seniors).
We possess a wide list of equipment, from heavy-duty easels to workshop tools that we make available to our residents. We also offer unique working capabilities in terms of digital fabrication due to our fablab. A list of some of this digital fabrication equipment and audiovisuals can be found on our website – [https:]
entry fee – ´Yes. We do not have public or private funding for the residencies, and besides the normal house bills and work consumables, we have a full-time person just for production support of the residencies. As such, we have to apply fees, but we do keep the fees to a minimum since we are a non-for-profit association based in a rural area.
In Buinho we also try to differentiate the value of the residency fees according to the characteristics of the accommodation. Bedrooms have different dimensions, spaces, and one has a private bathroom. By differentiating the fees, we are establishing a fairer criterion between residents, and enabling those with fewer incomes to come to Buinho.
Monthly fees are the following:
1. São João larger bedroom with private bathroom – 850€;
2. São João other two bedrooms – 750€;
3. Joaquina’s individual studio house – 900€;
Accompanying person has a 50% discount but must share the accommodation. It is an additional measure to support couples, artists with children, or possible artistic collaborations.
Contact adresses/URL:
If you wish to know more about how to apply please visit our website [https:]] or contact us to info@buinho.pt
We have also prepared some short vídeos about Messejana and our project:
Makers of Messejana – [https:]]
Dança dos Pássaros – [https:]]
Deadline: 30 April 2023
Call for entries
2023 Taiwan International Video Art Exhibition
Deadline: April 30, 2023 (GMT+8) 23:59
Date: to be announced
Location: Hong-Gah Museum(11F., No.166, Daye Road – Beitou District, Taipei City)
Long, durational observation indicates a sense of care. It can also form the premise on which ‘care’ takes place. Care is given to the material as well as the mental. In the context of a museum or an art museum, the meaning of ‘curate’ originally comes from the Latin word curatus, which means ‘to attend to’. Although the museum’s methods of caring have changed and evolved throughout history, the work of exhibition production today still involves preservation, selection, display choices, communication of contexts and the continual ‘taking care of’ objects.
Care can be tactile, specific, intimate, violent, suffocating. Although its value often goes unrecognized by existing dominant systems of knowledge, care has always been a quintessential part of human survival. More than ever, humanity now finds itself faced with calamities on a planetary scale, such as climate crisis and nuclear war. Is it possible for us to resist the hegemony of contemporary technoscience by first learning to care for ourselves and each other? Are we able to acknowledge the limits of human perception, and provide spaces for those to survive within and beyond such a boundary? Can we somehow find a way to revert our perspective from that of extractive capitalism which dominates nature, and instead practice interspecies care with a more-than-human lens? In the new normal, in which physical movement has narrowed and information circulates within echo chambers, are we capable of empathizing with and shouldering responsibility for the predicaments of others?
Since the scientific revolution, the seed of exploitation has been systematically embedded into our worldview in the name of “order”. Most beings that cannot be classified or are deemed without value have gradually been neglected, excluded and eventually eliminated. This open call aims to bring the valueless to the fore and to turn ‘care’ into the guideline for action.
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This open call’s theme attempts to open up the complexities and material entanglements of ‘care’ via three keywords: hokutolite, denshousha and television. These three terms associate respectively with notions of scale, mediums of memory, and viewing habits. We are seeking stories from all places that connect to these concerns.
Hokutolite
Hokutolite was first discovered in 1905 by Japanese mineralogist Okamoto Yohachiro. The mineral contains the radioactive chemical radium, and so far has only been found in two places in the world: Beitou, Taiwan and Akita, Japan. Its radioactivity enabled the Japanese physicist Arakatsu Bunsaku, then a teacher at Taihoku Imperial University (now National Taiwan University), to lead, with his team, the first experiments on atomic nucleus collision in Asia. Eventually, due to its rarity, the area where hokutolite had been initially excavated was designated in 2013 as a nature preserve, the first to be established in Taiwan for mineral protection. Having slowly formed over a vast geologic time scale, hokutolite came into human awareness through the imperial arms war. It was Taiwan’s colonizers who made the initial discovery of hokutolite, and ‘care’ was not granted to it until more than a century later. Hokutolite embodies the story of natureculture, an entanglement of scientific/rational knowledge and imperialist expansion based on the geological time of Beitou (where TIVA will take place).
Denshousha
In 1945, the United States dropped two atomic bombs on Hiroshima and Nagasaki, and Japan accepted the Potsdam Declaration a week later, ending World War II. Today, the cityscape of Hiroshima has been restored, but the number of people directly impacted by the devastation is now in swift decline, along with their first-hand memories. Since 2012, the City of Hiroshima has implemented the A-Bomb Legacy Successor program to preserve the personal experiences of the hibakusha (literally, ‘bombed person’) through a denshousha (‘successor’), who then becomes the guardian of their memories. Through spending time with hibakusha, each denshousha records discretely their life experiences, then narrates their stories orally to others. In contrast to using written text or images, the stories emerge from the mind and through the physical bodies of the denshousha. The transmission of memory relies on different voices, and storytelling becomes a form of healing. The denshousha reinforces the finite lifespan of a species, who inherits and passes down specific stories over an immeasurable timeframe.
Television
Media archaeology is committed to restoring obsolete technologies, while also revisiting the historical contents of past media through contemporary platforms. As the first mass medium in human history that could transmit sound and image to every household, the cathode-ray tube (CRT) television is an object of nostalgia. It was a commonplace appliance, a symbol of progress and modernity, but also circulated imagery that objectified minorities, women and the non-human, for consumption by global audiences. Such imagery has served as a crucial material basis for feminist discourses and resistance, as well as being an early catalyst of video art. The use of the CRT TV in today’s exhibitions has become a particular gesture. In caring for the image/medium, both the material and the immaterial come into consideration.
Free entry
deadline
31 Jan 2023
deadline
01 Mar 2023
Non c’è cosa più difficile che scrivere una favola, quell’arte del trovare parole semplici per comunicare qualcosa di complesso, o più semplicemente donare un pensiero diverso.
In questa pro-vocazione artistica promossa da Luigi Pagliarini (LP) si apre la sfida, ossia quella di creare un’operAzione corale dove la scrittura si trasforma in musica e linguaggio visuale. L’operAzione polifonica di LP consacra ogni immagine forgiata dalla sensibilità artistica di Federico Galdiero alla produzione di immaginari spalancando mondi paralleli e sensoriali. LP ci dona un viaggio psichedelico, superando il pozzo di Alice nel Paese delle meraviglie, oltrepassando il Vertigo di Hitchcock, la mente di Cobb in Inception (Christofer Nolan, 2010): un Inside out emozionante.
La favola di Pagliarini contiene, nel suo essere favola, energia pulsante e visioni di mondo mai raccontate o percepite. L’architettura favolistica qui promossa è una re-visione sul passato-presente-futuro, un sottosopra senza demogorgoni o passaggi segreti, dove i pre-concetti e gli stereotipi si smontano e il lettore “innocente” può finalmente comprendere l’esistenza di una connessione diretta e universale. Il “Pensiero Sensoriale” di LP qui promosso sposta il punto di vista da una dimensione antropocentrica a quella zoocentrica, nonché allocentrica: un’attrazione molto speciale dell’essere vivente. L’Opera Aperta di Pagliarini abita organismi fuori e dentro di noi i quali ci orientano e disorientano, dove il corpo stesso di configura come un universo: un terrarium semovente.
La metafora utilizzata dall’artista e psicologo italiano ci permette di indagare l’infinitamente piccolo, microscopico che a sua volta si relaziona con il macroscopico, una relazione profonda e connessa. Non esiste più il ‘c’era una volta’…, ma quello del ‘c’è e ci sarà sempre’, sfuggendo dalla brama antropocentrica per restituirci un pensiero molecolare, tentacolare e corale. Sta nel coro il sentimento della favola-favolaccia di Pagliarini.
L’intento dell’autore non è quello di un lieto fine, non c’è un lieto fine, né tanto meno una fine, contravvenendo anche alla natura delle favole e dell’immaginario sociale. Una presa di coscienza (e incoscienza) per non abituarci, ma disabituarci con sentimento nuovo, rinnovato di adesione ad una realtà a più dimensioni. Nella Flatlandia creata da Pagliarini emergono dimensioni possibili e impossibili dei sistemi viventi. Un Bing Bang planetario, una cosmologia corporea che genera periferie centriche e centri periferici: tutto si connette in un’atmosfera evolutiva. L’atmosferaggio di Luigi Pagliarini apre ad un Pianeta-Mente generativo, un’esplosione dove tutto nasce, cresce e muore. Bing-Bang che risuona come eco dentro e fuori. La fragilità dei sistemi viventi, dai batteri, ai funghi, dalle piante ai fiori, dagli animali agli esseri umani tutti appartengono al Pianeta Mente. Le atmosfere si mescolano, si connettono, si abitano e si contaminano: un’attrazione gravitazionale e trascendente. Pagliarini promuove un’intelligenza collaborativa, connettiva dove universi di relazioni paralleli generano codici compositivi per apprezzare il sentimento del Mondo. La grande sfida di Pagliarini è un sogno che si avvera, donare a chi sa ascoltare (i bambini) un diverso modo di guardare e provare l’odore della Terra, i sentimenti del mondo, il territorio delle atmosfere, le costellazioni della mente.
Il capolavoro di LP è una pazzesca atmosfera dove tutti ci rendiamo conto della potente connessione esistente tra pianeti viventi e satelliti della mente. Solo partendo dai bambini possiamo apprezzare il destino ultimo dell’universo, la sua fine (“Bing Crunch”).
Pagliarini riesce con sentimento corale a ricamare e tessere una trama cosmologica dell’universo con voce gravida di vita nella sua fragilità pre-potente. Pagliarini da questo punto del mondo “sversa” per un PianetaMente tendendo la mano ai bambini con grazia.
Emozione sonica, sonante: attimo estremo di fragilità. Respiro osseo che tesse la trama della mente e nell’esercizio ginnico del pensiero, il PianetaMente accade con Energia autentica. Una Supernova è quella che Luigi Pagliarini ci consegna, ci illumina, ci stupisce, ci fa innamorare. Una rinascita continua, in trasformazione e circolare. Il Pianeta Mente raccoglie nella consonante iniziale tutta l’anima potente di una “P” doppia Pagliarini-Pianeta dove la profondità della consonante partorisce una riflessione profonda sulla vita e sulla morte, senza averne paura, ma con responsabilità di raccontarla a chi nasce e si trasforma. LP è composizione sonora-magica che continua nel ritmo danzante delle atmosfere planetarie che dà l’inizio a un progetto ambizioso e molto più grande che segna l’insostituibile anima e coraggio di Luigi Pagliarini, un cuore da leone, una pelle di serpente e un animo da samurai, con Nuovi Immaginari che partoriranno dal suo cappello-Mente. Chapeu.
La favola continua …
Luigi Pagliarini, Il Pianeta Mente, illustrazioni di Federico Galdiero, testo di Catia Verna, Luigi Pagliarini, Edizioni Pianeta Mente, Roma 2022
L'articolo Il Pianeta Mente proviene da Arshake.
Deadline: 30 April 2023
Call for entries
Braziers International Film Festival
Deadline: April 30, 2023
Sept 1 – 3, 2023, Braziers Park, Oxfordshire, UK
The 5th Braziers International Film Festival will be held Sep 3 – 5, 2023 at Braziers Park, Oxfordshire, UK
Submissions are open to films of every genre, but with a focus on experimental shorts and artist film.
Running over three days, Braziers International Film Festival (BIFF) features a diverse and dynamic programme of international films, screened in the unique and historical setting of Braziers Park School of Integrative Social Research. Films are projected to audiences in a cinema-style environment, with screenings, workshops and special events taking place inside a large, historic 17th century barn adapted for public performances. The curated programmes are selected by a team of artist-filmmakers, who have a particular interest contemporary artists’ moving image work, but who are also looking for a diverse range of films in any genre. Film-makers who are selected will be invited to Braziers, and offered full accommodation for the festival duration.
Entries are open to both the UK and international filmmakers.
entry fee: $10
Contact: braziersiff@gmail.com
submissions: [https:]]
Braziers International Film Festival
[https:]]
deadline
10 Mar 2023
deadline
27 Jan 2023
Deadline: 10 January 2023
Call for entries
Residency program in Namibia for artists from Germany
Deadline: closing date for handing in your application is January 10, 2023.
The fellowship will be awarded for the period of June 1, 2023 to September 30, 2023. The selected artists will be staying in Windhoek, Namibia.
Akademie Schloss Solitude together with the National Art Gallery of Namibia and the Goethe-Institut Namibia is establishing a new residency program that will be committed to a long-term artistic and cultural exchange between Namibia and Germany. With this call for applications, we will offer artists from Germany, especially persons of African descent living in Germany, the opportunity to apply for a fellowship in Namibia.
The residencies are organized in the framework of a two-part workshop series curated by Namibian artist and historian Memory Biwa, which initiates a collective approach to the history of colonial relations between Namibia and Germany and develops new artistic narratives on this topic.
Artists across the fields of visual arts (also encompassing performance, sound, and socially-engaged art), literature/journalism (encompassing prose, poetry, as well as digital journalism), and digital practice (encompassing digital art, computing, hacking, gaming) can apply for a four-month residency. The fellowship will provide the opportunity to engage artistically with the project’s topics restitution/reparation, cultures of remembrance, and digital colonialism. You are welcome to apply until January 10, 2023.
5. No Entry Fee
6. [https:]
Akademie Schloss Solitude
Stiftung des öffentlichen Rechts
Solitude 3, 70197 Stuttgart
Tel +49 711 996 19 48 2
Fax +49 711 996 19 50
deadline
15 Feb 2023