All posts by Moritz Neumüller

Moritz Neumüller (b. Linz, Austria, 1972) is a curator, educator and writer in the field of Photography and New Media. He holds a Master Degree in Art History and a PhD degree in Information Management and has worked for several important art institutions, such as the Museum of Modern Art in New York, PhotoEspaña in Madrid and LOOP in Barcelona. At the moment, he works as Festival Curator for PhotoIreland in Dublin, and directs the Photography Department of the Istituto di Design in Madrid. In 2009, he founded artecontacto, a project aimed at exploring art through all senses, in order to provide access for all, including visitors with visual impairments or learning difficulties. Since 2010, he runs the The Curator Ship, a platform that provides useful information for visual artists. Since 2011, Moritz Neumüller is Co-director of Museum For All, a network of museums in Europe working to advance accessibility in the areas of culture and learning in a collaborative, all-inclusive way. This project is a partnership between artecontacto and the Design For All Foundation in Barcelona.

Group exhibition Call NYC, Deadline: Oct. 31, 2017

Open call for group exhibitions 2018-19

Application deadline: October 31, 2017

apexart
291 Church Street
New York, NY 10013
USA

www.apexart.org

apexart has been making people think for more than 20 years with innovative and unique approaches to programming. Fewer politics and more transparency resulting in more meritocratic and provocative exhibitions in NYC and around the world.

apexart exhibitions are selected from hundreds of anonymous proposals by an international jury of more than 200 people. Who you know doesn’t matter, the quality of your idea and how well you communicate it does. When an exhibition proposal is selected for apexart’s program season, it means that the idea is seen as compelling and worth developing by a large diverse jury that wants to see it transformed from a proposal into an exhibition.

apexart exhibitions feature works about everything, from anywhere, by anyone. If you follow what we do, you might discover something new or end up contributing to our programming.

In 2017, Animal Intent explored creature creativity, Promises to Keep presented performance art by women Pakistani artists, and Fellow Travelers explored the intersections of science fiction and migration narratives. apexart has also held exhibitions in places like Tarrafal, Cape Verde—examining histories of post-colonial prisons in Glimmer of Freedomand Tbilisi, Georgia—probing the legacy of Soviet Cosmonautics in Illegal Kosmonavtika.

apexart awards a budget of USD 10,000 to each selected exhibition and its related programming, and organizers receive a USD 2,000 honorarium for coordinating the project and writing the exhibition essay.

Proposals for group exhibitions in our NYC exhibition space will be accepted from October 1-31, 2017.

To learn more about how to submit your 500-word exhibition proposal, visit www.apexart.org/opencalls.php.

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Call for creative digital projects, Vienna. Deadline: Oct. 3, 2017

Print Swap Exhibition. Deadline: October 10, 2017

Dear Photographers,

Since Feature Shoot launched The Print Swap earlier this year, it has continued to grow with over 2,500 selected photographers swapping prints with other photographers around the world.

As promised, we are pleased to announce our second Print Swap exhibition opportunity!
For our next exhibition, Alison Zavos, Feature Shoot Editor-in-Chief, and Black Eye Gallery Director and Photographer Tom Evangelidis will be selecting approximately 40 landscape photographs from The Print Swap for an exhibition at Black Eye Gallery in the Darlinghurst neighborhood of Sydney, Australia. Devoted entirely to contemporary photography, Black Eye Gallery represents emerging and established artists. Photographers who have exhibited at Black Eye Gallery include Sandro Miller, Ron Haviv, Robin Schwartz, Nick Brandt, Simon Harsent, Robyn Beeche, and Frank Ockenfels.

Photographers of all genres are invited to submit work. Simply tag your photos #theprintswap on Instagram or email your images (at 620 px wide) to theprintswap@gmail.com. Photographers who are selected will both give and receive a print. As always, submitting to The Print Swap is free, though winners pay one-time fee $40 per image to be included. We cover printing and shipping costs. While The Print Swap is ongoing and there is no deadline to submit images, photographers should apply by October 10, 2017e2d8ad67-af81-4552-8e74-337762dfe913.png at 11:59PM EST to be considered for this show.

Only new landscape images submitted between today, September 4th, and October 10th will be considered for the show. Images that have been submitted and chosen for The Print Swap prior to September 4th, 2017, will not be considered, though previous participating photographers are more than welcome to submit new images. The Print Swap Sydney exhibtion will run from October 30th through November 12th, 2017.

Learn more at http://www.theprintswap.com and follow along at @theprintswap on Instagram for updates.

And be sure to check out the winners of the first ever Print Swap exhibition, opening September 13, 2017 at Photoville at Brooklyn Bridge Park!

Propeller Magazine Call. Portugal. Deadline: Oct. 5, 2017

Open Call #1

MANCHA
(macella, macula, -ae)
Está aberta a convocatória para participar no #1 da revista Propeller.
Envia os projectos para propeller@propeller.pt, com:
Nome (do autor e do projecto)
5 imagens (mínimo), com 1500px (lado maior)
Sinopse (opcional)
Mancha (substantivo feminino)
Nódoa
Malha
[Figurado] Labéu; mácula moral
Defeito
Imperfeição
Pincelada.
[Pintura] Esboço de um quadro a óleo ou maneira de distribuir a tinta num quadro
[Astronomia] Parte obscura no disco do Sol ou da Lua
[Tipografia] Parte impressa de cada página.
cama do javali
[Caça] Mato que se deixa de pé, em terreno roçado e arroteado e em que é fácil apanhar caça
[Joalharia] Parte baça de uma pedra preciosa.

Deadline: 5 Outubro | October 5th
Propeller’s open call for our next edition (#1) is now open.
Send your projects to propeller@propeller.pt and don’t forget to include:
Name (author and project)
5 imagens (minimum), with 1500px (largest side)
Project’s statement (optional)

Theme: “Mancha”

Spot (noun)
Blot
Smudge
Smirch
Stain
Taint
Blemish
Tarnish
Blur‬
Blotch
Splotch‬‬
Fleck‬
Defilement‬
A small, usually round area of colour that is differently coloured or lighter or darker than the surface around it
One of many spots, that form a pattern
A raised, pale red circle on the skin that is temporary
Dirt and untidiness.

Photography Call. Galerie Sehnsucht. Deadline: Oct. 15, 2017

We call for entries from photographers and photographic artists with images that are dedicated to Sehnsucht. Our first exhibition will be on view with this title from November 1st, until December 10th, in our wonderful gallery at the Vijverhofstraat. It will show our selection from the works that were submitted in the call. We will be assisted in making this selection by Philippe Moroux. Philippe is an artist and photographer who lectures at the Academy of Art and Design St. Joost in Breda, Netherlands. He will be the guest curator for this exhibition.

sehnsucht (n) “the inconsolable longing in the human heart for we know not what”

‘Sehnsucht’ is a German word, but known to artists for centuries. Friedrich von Schelling, a German author and thinker, called Sehnsucht the “gravity of our emotions”. It explains the never ending search people set out to do, a searching in the world, in the hearts of other people, a search in themselves … but not knowing quite for certain what they are looking for, it’s more a feeling than a word. The old idea of the ‘Wanderer’, always restless and thinking that happiness is somewhere else, is closely connected to it. Sehnsucht can apply to small longings, intimate things, but just as well to great things and deeds that one wants to happen, or to the loneliness the individual looks for in the face of the sublime.
Popular as emotion in the arts from the days of the romantics in the 19th century, the word can be applied on work of photographers as different as Alfred Stieglitz, Bill Brandt, Sally Man or William Egglestone.

Your work can be anything from a straight photograph, to manipulated and even drawn photoshop projects, from alternative 19th century photographic techniques to modern, computer made images, graphic arts (etchings, litho’s…), as long as it’s based on one or more photographic images (no drawings or paintings) and you can show us how it looks by sending us a digital file.

Learn how to participate at http://www.galeriesehnsucht.com

Contemp. Photo Prize in Cordoba, Spain. D: Oct. 20, 2017

IX Premio Bienal Internacional de Fotografía Contemporánea Pilar Citoler 2017 – BASES

IX Pilar Citoler International Biennial Prize for Contemporary Photography 2017 – RULES

IXE Prix Biennal International de Photographie Contemporine Pilar Citoler 2017 – RÈGLEMENT


THE UNIVERSITY OF CÓRDOBA ANNOUNCES THE IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY, 2017, TO BE HELD IN ACCORDANCE WITH THE FOLLOWING:

RULES
FIRST. Goal.
Any contemporary visual artist may enter regardless of nationality, bearing in mind that the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY, 2017, will be awarded placing special emphasis on the entrants’ artistic career (minimum of 10 years), international standing and engagement in the themes of contemporary photography.
[Competition rules will only by published on this website; any queries should be sent to:
[ premiopilarcitoler@uco.es ]

SECOND. Prize fund.
A single prize will be awarded comprising three elements:
1)    FIFTEEN THOUSAND EUROS. Any applicable taxes will be levied on this amount. The winning entry will become part of the art collection belonging to the University of Córdoba. The award ceremony will take place in February 2018.
2)    SOLO EXHIBITION. To be held in the last quarter of 2018 or the first quarter of 2019. The exhibition will chart the career of the winner of this edition of the Biennial Prize. The technical characteristics of the exhibition will be determined by the institution running the award. The winning artist will under all circumstances bear any costs associated with the production and framing of artworks included in the exhibition.
3)    MONOGRAPH (COLLECTION Nº 9 IN THE EL OJO QUE VES SERIES). A monograph will be published in 2018-19 examining the winning artist’s career and body of work. The technical specifications of this publication will be determined by the University of Córdoba’s Publications Service, with the assistance of the Curator. The winning artist shall supply images for the book in digital format, as well as any other material needed for its completion.
THIRD. Characteristics of the work submitted, whether as finished prints or quality photographic proofs to scale.
Entrants shall submit a single photographic work; this includes the submission of diptychs, polyptychs and other formats, on condition that they do not exceed the maximum dimensions permitted by the competition, 200 cm x 200 cm. Entries from artistic partnerships comprising more than one artist, or entries under pseudonyms and heteronyms (as set out in the entry form) are explicitly permitted. The work must be unpublished and not in receipt of any prize from any other competition, and is entirely unrestricted with regard to subject matter, technique and manner of exhibition. The entrant may choose to submit a definitive print (framed or unframed), or a proof at printed scale on quality photographic paper that shall under no circumstances exceed a maximum size of 70 x 70 cm or minimum size of 30 x 30 cm. Recommended scale: 1/2 or 1/3 of the actual size of the work. The to-scale proof that is submitted must match all aspects of the original work it represents to the utmost exactitude. Any change or modification shall be deemed as grounds for exclusion from the shortlist.
FOURTH. Deadline for entry, return of work and conditions.
The period for the submission of entries (which may be in the form of finished work or a photographic quality printed proof) runs from 20 September 2017 to 20 October 2017.
The work should be submitted in person, or by an authorised third party, or by a national or international courier, delivering the entry to the address below, from Monday to Friday, between 9:00 and 14:00:
UNIVERSITY OF CÓRDOBA
IX PREMIO BIENAL INTERNACIONAL DE FOTOGRAFÍA CONTEMPORÁNEA PILAR CITOLER 2017
DIRECCIÓN DE CULTURA
AVDA. MEDINA AZAHARA, 5
14071 –CÓRDOBA
SPAIN.
Please send any queries to:
premiopilarcitoler@uco.es
Artists choosing to submit their work in its final form must do so using reusable packaging that should be easy to open and reseal, and sturdy enough to ensure its safe return. The package must be clearly labelled on the outside with a description of its contents. Improperly packaged work will not be accepted. The organisers will label the obverse of all work with removable stickers; for this reason, entrants who wish to avoid such labelling of the original paper or material of the artwork or proof should submit their work in such a way that it is protected by film or other material enabling the work to be seen.
All costs related to the delivery and return of works, along with any associated insurance costs, shall be borne by the entrant, apart from the return of works chosen for inclusion in the IX Prize exhibition, the costs of which will be borne by the organisers, to the address submitted in the registration form.
Proofs and dossiers not selected will not be returned by the organisers but must be retrieved, from the delivery address, by the artist or by an authorised third party or company, within a period of 90 days following the judges’ decision. Prior notification of collection must be submitted to the following email address: premiopilarcitoler@uco.es. In the case of collection by a designated third party, the corresponding receipt of entry must be presented, as well as an explicit letter of authorisation from the artist.
Once the aforementioned period has elapsed, the organisers shall not be liable for the photographic proofs and dossiers not retrieved and they will be destroyed.
The artists release the organisers from any manner of liability for damage during transit (incoming or outgoing), storage or handling of their work while in Córdoba. Entrants are free to take out insurance covering such eventualities, at their own expense.
FIFTH. List of entrants and remedying of formal defects.
In the days following 20 October 2017, the closing deadline for submitting entries, a list of the artists whose work has been entered in the competition will be posted on this website, with an indication, if applicable, of any formal defects detected or the lack of any documentation required by these Rules, granting a period of 10 working days to remedy them. Failure to remedy such defects within the period in question will disqualify the entrants concerned from the competition.
SIXTH. Documentation to be submitted.
Entrants are required to submit the following documents in a sealed envelope:
1.- A correctly completed and signed entry form, which should be printed from this website (see the “Rules in PDF format” tab).
2.- A photocopy of the entrant’s ID card or passport.
3.- A technical factsheet for the artwork including the photographer’s name, the title of the work, measurements, date, technique and its estimated value. In the case of entries submitted under pseudonyms, heteronyms or group names, the real names should appear on this factsheet.
4.- If a photographic to-scale proof is submitted instead of the actual-size definitive artwork, its size is at the discretion of the entrant as long as it is not larger than 70 x 70 cms or smaller than 30 x 30 cms.
5.- All entries, for the purposes of publishing the corresponding catalogue, must supply a memory stick, CD or DVD with the image of the photograph being submitted adhering to the following specifications: CMYK (Cyan, Magenta, Yellow, Black), TIFF file format with minimum resolution of 300 dpi (dots per inch) at A4 size.
6.- A CV (in digital or printed form) including a portfolio of at least 10 images of earlier work, in any size the entrant deems appropriate.
The above documents may not be submitted by e-mail.
SEVENTH. Members of the judging panel.
The judging panel will convene on a date to be determined in November 2017, which will be published on this website, comprising:
CHAIR:
– PILAR CITOLER (Collector and creator of the CIRCA XX collection).
MEMBERS:
–    VICENTE TODOLÍ, former director of Tate Modern (London) and currently the artistic director of HangarBicocca (Milan).
–    LORENA MARTÍNEZ DE CORRAL, independent curator and director of the Fundación Coca-Cola Contemporary Art Collection.
–    ERICA NYHOLM, winner of the VIII PILAR CITOLER PBIFC
–    BLANCA BERLÍN, gallery owner (Madrid).
–    ISABEL MUÑOZ, recipient of the 2016 National Photography Prize and picture of the IX PILAR CITOLER PBIFC.
–    PABLO RABASCO, UCO Culture Director and lecturer in the History of Photography and the Latest Tendencies in Art.
SEMA D’ACOSTA, theorist and critic.
SECRETARY:
– A University of Córdoba member of staff belonging to the culture department, with speaking but not voting rights, will act as secretary.
EIGHTH. Selection of artworks and announcement of the panel’s decision.
The judging panel will shortlist 15 artworks from those submitted and from this shortlist choose the overall winner, paying particular attention to artistic quality, the artist’s career, his or her international standing and engagement with themes in contemporary photography. The judging panel’s decision shall be final, and it reserves the right to declare the competition null and void.
The names of the 15 shortlisted artists will be published on the website, http://www.premiopilarcitoler.es, in the week after the judging panel meets. The award ceremony will take place in February 2018.
Only the shortlisted artists and the winner will be contacted directly.
The winning photograph shall be deemed to have been acquired for the same sum as the price awarded and shall there after become part of the University of Córdoba’s art collection. The cost of producing and framing the photograph, which must be delivered to the University of Córdoba before the end of January 2018, is to be borne by the winner.
NINTH. Staging of the exhibition.
The award ceremony will coincide with a temporary exhibition to be held in Córdoba between February and March 2018, featuring the work of the preceding winner of the competition, Erica Nyholm. The 15 shortlisted works from the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY 2017 will also be displayed.
A catalogue featuring the artwork of the photographers shortlisted for the 2017 award will be published. A monograph will also be published examining the career and output of the winner of the 2015 competition. This monograph will form part of the El ojo que ves contemporary photography series and will be made available by the University of Córdoba Publications Service, possibly in collaboration with an external publisher. The winning artist will receive 50 copies free of charge.
Once the results of the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY 2017 have been announced, both the shortlisted and the winning photographs will need to be printed and sent APPROPRIATELY PACKAGED AND FRAMED to the awards address given in Rule Four, before 15 January 2017. All production, framing and shipping costs for the artworks shall be met by the artists concerned. The costs of returning the artworks to the photographers shall be borne by the competition organisers.
TENTH. Guarantees.
The artists are legally responsible for ensuring compliance with the competition requirements concerning intellectual property rights. Entries that do not satisfy these requirements may not be shortlisted and will be disqualified. In agreeing to take part in the competition the photographers:
I.    Warrant that they are the owners of the work they are submitting, that intellectual property rights have been conferred to them in their entirety and that if the submitted work has been commissioned for private or domestic purposes it is submitted with the authorisation of the commissioning party.
II.    Warrant that they have not renounced any moral right in the photographs.
III.    Warrant that they have obtained the appropriate authorisation from the people who appear in the submitted photographs stating that the photographs may take part in the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY 2017. The photographers must, if requested, present signed authorisations from the people who appear in the photographs they submit.
IV.    Accept that their work may be exhibited in a number of cities and subsequently at any exhibition venue promoted by the University of Córdoba over a maximum period of one year.
V.    Accept that the organiser may reproduce and/or licence the image of any of the shortlisted artworks submitted to the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY 2017 for commercial, cultural or educational purposes, or to publicise the competition, using any medium anywhere in the world, including catalogues and the internet, without this giving rise to any payment to the photographer or the model.
VI.    All shortlisted photographs will remain the intellectual property of the photographers at all times and whenever an image is used its authorship will be credited to the photographer concerned.
ELEVENTH. Acceptance of the Rules.
Entering the IX PILAR CITOLER INTERNATIONAL BIENNIAL PRIZE FOR CONTEMPORARY PHOTOGRAPHY 2017 entails full acceptance of these Rules and the judging panel’s ruling regarding any circumstance not provided for herein.

DOWNLOADS:
IX Pilar Citoler International Biennial Prize for Contemporary Photography 2015 – RULES