Category Archives: Conference / Workshop

INDIAN PHOTOGRAPHY FESTIVAL – HYDERABAD. DEADLINE: MAY 5, 2018.

The Indian Photography Festival (IPF) – Hyderabad, a Not-For-Profit initiative of Light Craft Foundation, is an international photography festival, showcasing a wide range of photography from India and around the globe with a series of events, including talks and discussions, portfolio reviews, book launches, screenings, workshops etc. The IPF creates a platform for the professional and aspiring photographers, the photography lovers and the public where the festival promotes the art of photography at the same time address the social issues through the medium of photography.

The Indian Photography Festival – Hyderabad announces the Open Call inviting photographers from all over the world to submit their works for the 2018 exhibitions. The Festival is also accepting submissions for its Photobook exhibition.

Bringing the best of photography to Hyderabad each year, the IPF 2018 will take place from 6th September – 7th October, at the beautiful State Gallery of Art – Hyderabad. The festival showcases a wide range of photography across all genres from around the globe with a series of events, including talks and discussions, portfolio reviews, screenings, workshops etc. The 2017 edition presented works by 500 established and emerging artists from 40 countries.

Submission Guidelines; Are open to photographers, curators, collectives, archives, galleries and organizations from around the world.

 

Submissions are free and open to all topics and issues.

More information: www.indianphotofest.com

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Transeurope Workshop Zagreb. March 17, 2018

Last places for Workshop Project development, from the idea to the final product, given by the very Captain of this ship, Moritz Neumüller, Inscription fee: 20 EURO (What?? YES!)

This hands-on seminar is addressed at artists working with visual narratives through any lens based media, wishing to learn more about the possibilities of publishing, exhibiting and other ideal opportunities for outputting work. Participants are requested to have a project completed or close to completion ready to be distributed, and they can expect to leave with a solid plan at the end of the seminar.

Inscription at

http://transeuropephoto.eu/activities/project-development-idea-final-product/

 

This workshop is part of Transeurope, a new European platform for professional photographers and visual artists to share, learn, interact and develop their work internationally. The scope of Transeurope is to facilitate access to professional opportunities as well as to create the conditions for greater transnational circulation of their works.

From January to March 2018, preparatory portfolio workshops are going to take place in 14 countries at international cultural and photography venues. Following on from this from May to June 2018, three portfolio reviews will be held in Madrid, Athens and Helsinki where more than 60 portfolio reviewers and 200 photographers/visual artists are expected to participate. The program will include seminars and workshops, conference and cultural visits shaping an experience of professional training for photographers.

After the closure of the portfolios, a jury will select 30 works that will be part of three group exhibitions (September 2018-November 2019) and will be also featured in the accompanying printed magazine/publication and the web platform will be a data base for consulting with more than 300 experts, artists and art centers, etc.

Transeurope is co-organized by the Fundacion Contemporanea-PhotoEspaña in Madrid, The Finnish museum of Photography in Helsinki and Euromare NPO in Athens. Among its founders the project has come to life with the support from the European Commission, the Creative Europe Culture-Educational, and the Audiovisual and Culture Executive Agency.

For more information on how to participate, check out the website www.transeuropephoto.eu and the Transeurope Facebook page.

Call for papers – After Post-Photography. Deadline: 20 Dec. 2017

————- English (véase abaja para español ————

Call for papers, for Conference

AFTER POST-PHOTOGRAPHY 4 – MODES OF PRODUCTION

Сultural, Historical and Visual Studies in Photography

16-18 May 2018, European University in St. Petersburg, Russia

That photographic media, in one way or the other, record, depict and represent truth, realities and the past, is a staple. In theory this relation has been called into question, in particular with the advent of digital image manipulation, and the doubts have been extended since to analogue photography, too. Yet despite these doubts the notion of photographs being somewhat true permeates most, if not all, practices with these media: in science and humanities, photographic images replace and represent the object of research; in an ID, the portrait connects a face and a body with a name and other personal data; photographs in family albums and books allow to look back into the past. And though it may have been the reason for recent doubts in photography’s veracity, digital photography thrives on this promise as well: we share meals with our social networks the moment they are served, video telephony lets us talk not only to a voice but a face, and GPS metadata tells us where on Earth we took a certain picture. Moreover, photography is hybridized when the camera in our smartphones becomes a scanner for QR-codes, drones are equipped with face-recognition software, and augmented reality systems transform the material world into a space and surface for digital data.

 

Under these conditions, photography has ceased to be a specific medium generating still images. It has become a dispositif in the sense of being a network of applications, institutions, materialisations and theoretical settings such as its privileged relation in representing truth – which, looking back, it has always been. The discussions concerning the re-evaluation of photography, however, usually give most attention to individual pictures as products and as depictions. What we would like to focus upon  with our next conference are the modes of the technical, optical, chemical and social conditions of pre-, post-, mass and over-production, of  the distribution, consumption, circulation and archiving of what is so commonly known as photographs. We welcome in particular submissions concerned with new theoretical and empirical approaches and perspectives on these fields. And we would be delighted to receive papers dealing with rarely researched topics such as photographic optics, photochemistry and the applications of soft- and hardware for generating photorealistic images. We plan to arrange the talks in four panels:

 

  • Ça eu été? What photography has been and will become.
  • What is needed. The material bases of photography
  • How to use them. Production, dissemination, application and perception of photographic images
  • What else is new? Photographic practices at the fringes of photography.

 

Please submit your application, including a short summary of your paper (250-400 words) in English using the following link: https://easychair.org/conferences/?conf=app4 no later than 20 December 2017. Note that you should register at the Easychair website in order to submit your application. There is no participation fee.

We shall consider the possibility of online participation for a limited number of participants. The working languages of the conference are Russian and English. Conference materials are planned for publication in 2018-2019. For programs of After Post-Photography since 2015 and past publications, please see http://www.after-post.photography

We would appreciate it if you would circulate the call to your own networks and other mailing lists.

Organising committee After Post Photography 4:

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

E-mail address:app@mur.at

http://www.after-post.photography

 

————— Español ——————–

Convocatoria de trabajos, para conferencia

DESPUÉS DE LA POST-FOTOGRAFÍA 4 – MODOS DE PRODUCCIÓN

Estudios culturales, históricos y visuales en fotografía

16 -18 de mayo de 2018, Universidad Europea de San Petersburgo, Rusia

El medio fotográfico de una u otra manera, registra, representa y plasma la verdad, las realidades y el pasado, como un elemento fundamental. En teoría, esta relación se ha puesto en tela de juicio, en particular con la aparición de la manipulación de la imagen digital y las dudas se han extendido desde entonces también a la fotografía analógica. Sin embargo, a pesar de estas dudas, la noción de fotografía como algo verdadero impregna la mayoría, si no todas, las prácticas: en ciencia y humanidades. Las imágenes fotográficas sustituyen y representan el objeto de la investigación; como identificación, el retrato conecta un rostro y un cuerpo con un nombre y otros datos personales; las fotografías en álbumes y libros de familia permiten mirar hacia atrás en el pasado. Y aunque puede haber sido el motivo de la recientes dudas sobre la veracidad de la fotografía, la fotografía digital también se basa en esta promesa también. Compartimos las comidas con nuestras redes sociales en el momento en que se sirven, la videotelefonía nos permite hablar no sólo con una voz sino con una cara, y los metadatos GPS nos dicen en qué lugar de la Tierra tomamos una determinada foto. Además, la fotografía se hibrida cuando la cámara de nuestros smartphones se convierte en un escáner para códigos QR, los drones están equipados con software de reconocimiento facial y los sistemas de realidad aumentada transforman el mundo material en un espacio y una superficie para datos digitales.

En estas condiciones, la fotografía ha dejado de ser un medio específico para generar imágenes fijas. Se ha convertido en un dispositivo en el sentido de ser una red de aplicaciones, instituciones, materializaciones y escenarios teóricos como su relación privilegiada en la representación de la verdad -que, mirando hacia atrás, siempre lo ha sido. Sin embargo, los debates sobre la reevaluación de la fotografía, sin embargo, por lo general prestan la mayor atención a las imágenes individuales como productos y como representaciones.

Lo que nos gustaría destacar en nuestra próxima conferencia son los modos de las condiciones técnicas, ópticas, químicas y sociales de pre, post, producción y sobreproducción del medio, la distribución, consumo, circulación y archivo de lo que comúnmente se conoce como fotografías. Son especialmente bienvenidas, los proyectos relativas a nuevos enfoques teóricos y empíricos y las perspectivas sobre estos ámbitos. Y nos encantaría recibir trabajos sobre temas raramente investigados como la óptica fotográfica, la fotoquímica y las aplicaciones de soft- y hardware para la generación de imágenes fotorealistas. Planeamos organizar las charlas en cuatro paneles:

– Qué fue? Lo que la fotografía ha sido y será.

– Lo que se necesita. Las bases materiales de la fotografía.

– Cómo usarlas. Producción, difusión, aplicación y percepción de imágenes fotográficas.

– ¿Qué hay de nuevo? Prácticas fotográficas al margen de la fotografía.

 

Por favor envíe su solicitud, incluyendo un breve resumen de su trabajo (250-400 palabras) en inglés utilizando el siguiente enlace: https://easychair.org/conferences/?conf=app4 a más tardar el 20 de diciembre de 2017. Tenga en cuenta que debe registrarse en el sitio web de Easychair para enviar su solicitud. No hay cuota de participación.

Consideraremos la posibilidad de participación en línea para un número limitado de participantes.

Los idiomas de trabajo de la conferencia son el ruso y el inglés.

Los materiales de la conferencia están previstos para su publicación en 2018-2019.

Para los programas de After Post-Photography desde 2015 y las publicaciones anteriores, por favor vea http://www.after-post.photography

Le agradeceríamos que hiciera circular el llamada entre sus redes y listas de correo.

Comité Organizador After Post Photography 4: Comité Organizador

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

Correo electrónico: address:app@mur.at

http://www.after-post.photography DIFUNDE LA PALABRA-

 

The Curatorial School Workshops, Malta. Deadline: June 30, 2017

This seems like an interesting program … even if the teaser image only shows utterly bored people (the lady in the background just fell asleep, didn’t she?)   😉

Anyways: There are student discounts and volunteering opportunities. So have a look!

The Valletta 2018 Curatorial School (28th August-1st September 2017) is a one-week intensive lecture programme hosted in the heart of Valletta, Malta, with leading curators from major international arts institutions. The theme for this year’s Curatorial School is Researching Curatorial Practices. By bringing together international and local perspectives, this year’s programme asks: What kinds of research do curators of contemporary art engage in?

The Curatorial School’s programme will explore a variety of topics that are highly relevant to practitioners and students today, including curating as research and curatorial research methods, curating the unfamiliar, the research involved in developing concepts, the temporalities of display, and the potentials and limitations of exhibition-making.

The Curatorial School offers participants the opportunity to further their curatorial career development through insightful lectures and professional networking opportunities. Participants may respond to tasks put forward by guest curators and receive extensive feedback on aspects of curating, researching, producing and presenting new ideas. Workshop themes include, “Curatorial Start Kit for Research the Art and Democracy Question,” “Modes of Curating / Curating as Research,” “Curating the Place and the Social” Art as Production of Public Domain,” and “Showtime: Exhibition Temporalities and Curating as a Mode of Political Enquiry and Critical Practice.”

International guest speakers and workshop facilitators include Alfredo Cramerotti (MOSTYN Gallery, 57th Venice Biennale, Manifesta 8), Bassam El Baroni (Manifesta 8, HOME WORKS 7), Fulya Erdemci (54th Istanbul Biennial, 54th Venice Biennale, 2nd Moscow Contemporary Art Biennale, 25th Biennale São Paulo), Maren Richter (REGIONALE12 Biennal, MOCA Taipei), Mick Wilson (Moscow Curatorial School, 9th Taipei Biennal, PARSE journal) and Sebastian Cichocki (Museum of Modern Art in Warsaw, 52nd and 54th Venice Biennales).

To register: https://goo.gl/forms/s5OCQJwJEPhBM5am1

The fee to attend the Curatorial School is €110. We are pleased to offer a discounted student rate of €60 for students currently enrolled in studies.

A limited number of applicants will be accepted as event volunteers, for whom attendance fees will also be waived.

 

Registrations are open until the 30th of June 2017.

Best of Braga

Braga PF Reviews rocks! In the Portfolio Reviews, I saw great works from Luciana Faria Silva, Dani Pujalte & Rita Serra, Anni Hanén, Rui Diogo Castela, Silas de Paula, Jenny Rova, Carlos Heuser, Ditte Lyngkaer Pedersen, Carlos Barradas, Fernanda Chemale, Paulo Martins, Kristin Trub, Projecto PH, Emmanuel Guillaud, Laís Pontes, Adrián Portugal, Lizadie Taste, José Diniz, Gabriel Carpes, Friso Spoelstra, Jewgeni Roppel, John Thackwray, Carlos Alba, Conchi Martinez, Massimo Barberio, Inma Barrio, Miriam Stanke, Jill Quigley, Antonio Cavicchioni, and Marie-Pierre Cravedi.

Winner: Sonja Hamad
Horable Mention: Christiane Peschek

As for the books, we have chosen Mafalda Rakos’ I want to disappear as the winner, together with Senta Simond’s Keun Gui So Nyeo [Girls With Big Ears] as second, and Luján Agusti’s Un Montón de Ropa as third prize. Here are the names of all the finalists.

Thank you to all the great photographers and, of course, to Ângela Ferreira and her wonderful team!

captura-de-pantalla-2016-09-24-a-las-17-54-35

Masterclass by Joan Villaplana in Pingyao, China. Sept. 21, 2015

This is part two of the workshop program in China, coorganized by IED-Madrid and EMAHO Magazine. After the its first edition at the Central Studios in ShanghaiJoan Villaplana will hold the second Masterclass on Beauty, Ugliness and the Sublime at at the Pingyao International Photography Festival, China, on Sept. 21.

CONCEPT

Beauty has been marginalized in the Western Arts for decades. In contemporary photography, Ugliness and the Romantic concept of the Sublime have been taken its place. What is our problem with beautiful images? Why do we ban them, and, could beauty recover its central position in art?

This workshop analyses the role of the Sublime in contemporary landscape and cityscapes, and questions why are we interested in the ugliness of our societies. We will also debate the Chinese conception of beauty related to the Western concept of aesthetics and image making.

During this one-day workshop, IED faculty member Joan Villaplana will analyse the basic aesthetic concepts of contemporary fine art tendencies and talk about its visual language. Working from examples of selected photographic projects, he will show current tendencies in dialogue with other media, such as traditional and contemporary painting, video and cinema.

Apart from learning about the theoretical concepts, the participants will find out which cameras and techniques are most suitable for which kind of themes: small or digital medium format? Large or small prints? Books or installations, or even video?

WHO SHOULD APPLY

The workshop is addressed to both students and professionals in the field of photography: Photographers and artists in any field of photography or Publishing Sector. Graduates or students of Fine Arts, Audiovisual Communications, Publicity, Journalism, Art History, or Humanities who want to specialize in the theory and practice of Fine Art Photography.

The purpose of the workshop is to introduce assistants to the contemporary aesthetic concepts and their applicability in non-Western contexts.

Date: September 21, 2015.

Duration: 1 day

Venue: Pingyao Festival

MATRICULATION

Minimum Participants required in each workshop : 7

Maximum Participants: 30

Tuition fee: 300 RMB / $50 / 45 Euros

To participate please write to:  a.pacifico@madrid.ied.es

ABOUT JOAN VILLAPLANA

Joan Villaplana Casaponsa (Manresa, Barcelona, 1976) works in photography and video.

Graduated from the Universitat Pompeu Fabra of Barcelona in Humanities, he teaches aesthetics and Fine Art Photography in the European Master of Fine Art Photography at IED (Madrid) and IDEP (Barcelona). His work has been exhibited in the China Pingyao International Festival of Photography, The Central European House of Photography (Bratislava), Lumen Foundation (Budapest), Fotofestiwal (Lódz), Kaunas Photo Festival and PhotoIreland.

Villaplana’s book Metropolis was a nominee for the best Photobook award in The New York Photo Festival, 2008.

He has also contributed in newspapers and magazines such as Le Monde Diplomatique, La Vanguardia, Financial Times, The Wall Street Journal, Prensa Libre, Surface, Etiqueta Negra and On Diseño.

Joan Villaplana Masterclass, at Central Studios Shanghai, 2015

Call for Paper on Evidence. Format Festival Conference. Deadline: Feb. 28, 2015

CALL FOR PAPERS

FORMAT International Photography Festival is pleased to invite submissions to its interdisciplinary one day conference, organised in partnership with the Digital and Material Arts Research Centre, University of Derby.

The festival conference will be held at QUAD, on the 10th April 2015, during the closing weekend of FORMAT15 and will provide an opportunity to explore and interrogate the festival theme of evidence, in relation to work using film, photography and the moving image.

Evidence is the mainstay of how we decide what is and is not true and since its invention in the 19th century, photography has been crucial to the collection, recording and display of evidence. Today, millions of seemingly insignificant moments are captured on cameras, mobile phones and tablets, generating a trail of our everyday lives and proof of our existence.

The FORMAT15 conference seeks proposals that can offer an interpretation of the importance of evidence and its relationship to ideas of authenticity, photojournalism and the political. Selected presentations will be considered for a post conference publication.

Proposals in the form of maximum 300 word abstracts on the following themes can be submitted in three categories:
Single Presentation:10 minute talk
Group Session:15 minute presentation per speaker as part of a group panel discussion
Full paper: max. 45 minute presentation
Please send submissions via email to Professor Chris White (c.white@derby.ac.uk)

SUBMISSION DEADLINE: 28th FEBRUARY 2015

Selected speakers will be given free access to the full day of talks and presentations.

Please visit the festival website: www.formatfestival.com whats-on for information about tickets and booking details. A full list of speakers will be published on the festival website.

Stay tuned for more updates on FORMAT15: EVIDENCE and we look forward to seeing many of you in Derby during the festival: 13th March – 12th April 2015