Category Archives: Deadline 04/2013

Three Calls for Papers on Collecting and Museums. Deadlines: April / May 2013

Summary of this post

This is a three-in-one post on Calls for submissions for conferences that have to do with museums and collecting, in the widest sense.

  • The first one will be held in Gotha (Germany) in November 2013 and is on Collections and the Marketplace, as part of the wider theme Economies of Collections and the Value of Scientific Things. Conference languages: German and English.
  • The second call is for a conference to be held in September 2014 (sic!) in Berlin, with the working title Mars and Museum. European Museums during the First World War. Conference languages: German, English, French
  • The third conference looking for contributions is held in June 2013, by the University of York under the title The Role of Collectors, Critics, Curators in Artistic Practice c. 1780-1914.

Please find all three calls hereafter.


Sammlungsökonomien. Vom Wert wissenschaftlicher Dinge, Teil 1:
Sammeln und Markt seit dem späten 18. Jahrhundert

Call for Papers

*** English version below ***

Gotha, 21./22. November 2013

In Sammlungen vermischen sich epistemische und ökonomische Kreisläufe. Wissenschaftliches Sammeln lässt sich als ein Prozess der Wertschöpfung begreifen, der Kapital mobilisiert und anhäuft – soziales, ökonomisches, politisches, vor allem aber wissenschaftliches Kapital. Dies hängt unmittelbar mit der Materialität von Sammlungen zusammen: Sammeln verbindet die Produktion wissenschaftlicher Erkenntnis mit der Herstellung und Zirkulation von Dingen. Während die jüngsten Forschungen zu Museen, Sammlungen und Wissensdingen vor allem deren Erkenntniswert in den Mittelpunkt gestellt haben, konzentriert sich der erste Workshop zum Thema “Sammlungsökonomien” auf den wenig beachteten Zusammenhang von Sammeln, Wissen und ökonomischer Wertzuschreibung seit dem späten 18. Jahrhundert. Denn Dinge und Wissenschaften sind historisch sehr konkret durch verschiedene Märkte und Ökonomien miteinander verbunden. Wissensdinge werden gehandelt, verkauft, getauscht und geschenkt. Sie werden ausgestellt, zirkulieren zwischen Sammlern, Händlern, Besitzern und Institutionen und erhalten in diesen Kreisläufen ihren spezifischen Wert.

Die Schnittstellen von Sammeln und Markt prägen sowohl Archive, die wie die Sammlung Perthes in Gotha aus betriebswirtschaftlichen Kalkülen angelegt wurden, als auch naturwissenschaftliche Sammlungen wie beispielsweise im Berliner Naturkundemuseum, die scheinbar rein wissenschaftlich motiviert sind. Mit dem Fokus auf Sammlungsökonomien lassen sich sowohl diese geldökonomischen Prozesse als auch sammlungsinterne Fragen des Verwaltens, Haushaltens und Ordnens des Wissens historisch schärfer fassen. Diese Perspektive erlaubt es zudem, aktuelle wissenschaftspolitische Entwicklungen anders zu diskutieren, denn Debatten über Sammlungen und deren historische Erschließung sind zunehmend durch eine Rhetorik der kulturellen Ökonomie geprägt. Objekte werden als Teil unseres „kulturellen Erbes“ definiert, den es als Beleg und Ausweis der wissenschaftlichen, nationalen und kulturellen Gegenwart zu bewahren gilt.

Ziel des Workshops “Sammeln und Markt” ist es, an Fallbeispielen zu zeigen, dass der Kultur- und Erkenntniswert wissenschaftlicher Dinge untrennbar mit ökonomischen Infrastrukturen verbunden ist. Wir fragen danach, ob und wie sich Sammlungsökonomien historisieren lassen. Wie etwa veränderte sich der Wissenshandel, als fürstliche und gelehrte Sammlungen seit dem späten 18. Jahrhundert verstärkt in staatlichen Besitz übergingen? Welchen Einfluss hatte die politische Förderung von Sammlungsreisen? In welcher Beziehung stand der privatwirtschaftliche Markt für wissenschaftliche Dinge mit den akademischen Sammlungen? Wie wurden Sammlungen organisiert, damit sie ökonomisch, d.h. effizient, benutzt werden konnten? Welchen Status hatte das Original in Bezug auf Dublette oder Reproduktion? Wie beeinflusste die Zirkulation von Dingen zwischen Akademie und Handel wissenschaftliche Diskurse, Disziplinen und Institutionen? Wie veränderte der Handel die epistemische Struktur von Sammlungen? Inwiefern wurde Kategorisierung wissenschaftlicher Objekte als “neu” oder “einzigartig” durch einen Markt gesteuert? Welche ökonomischen und historischen Wechselwirkungen lassen sich zwischen Ordnen, Präsentieren und Vermarkten erkennen und wie wirken diese bis heute fort?

Mit diesem Call for Papers laden wir Forscher/innen und Nachwuchswissenschaftler/innen aus unterschiedlichen Bereichen – von der Sammlungsgeschichte und -theorie, über Sozial- und Wirtschaftsgeschichte bis hin zur Wissenschafts-, Kunst- und Kulturgeschichte – ein, die Verbindungen von Sammlungs- und Ökonomiegeschichte zu diskutieren. Ziel ist es, einen Einstieg in das umfassende Thema “Sammlungsökonomien” zu finden, der in Folgeveranstaltungen erweitert und vertieft werden soll.

Die Tagung ist eine Kooperation des Projektes “Globalisierung und lokales Wissen: Sammlungsbezogene Forschung zum Verlag Justus Perthes” am Forschungszentrum Gotha der Universität Erfurt und der kulturwissenschaftlichen Forschungsinitiative “PAN – Perspektiven auf Natur” am Berliner Museum für Naturkunde. Sie findet am 21./22. November 2013 auf Schloss Friedenstein in Gotha statt. Konferenzsprachen sind Deutsch und Englisch. Bewerbungen mit Abstracts (max. 500 Wörter) und kurzem Lebenslauf bitte bis spätestens 31. Mai 2013 an nils.guettler@uni-erfurt.de oder ina.heumann@mfn-berlin.de senden.

Konzept und Organisation: Nils Güttler & Ina Heumann

Dr. des. Nils Güttler
Projekt: Globalisierung und lokales Wissen
Forschungszentrum Gotha der Universität Erfurt
Postfach 100561
99855 Gotha
+49(0)361/737-1726

Dr. Ina Heumann
PAN – Perspektiven auf Natur
Museum für Naturkunde
Leibniz-Institut für Evolutions- und Biodiversitätsforschung
Invalidenstr. 43
10115 Berlin
+49(0)30/2093-8977

Wissenschaftlicher Beirat: Martin Mulsow, Susanne Rau, Petra Weigel

******************************

Call for Papers (English version)

Economies of Collections and the Value of Scientific Things
Part 1: Collections and the Marketplace since the late 18th Century

Gotha, November 21-22, 2013

Scientific collecting is a process that mobilizes and spawns social, economic, political, and scientific capital. The materiality of collections links the production of scientific knowledge to the production and movement of things. Whereas historical research has recently emphasized the epistemic impact of collections we want to focus on their often neglected economic dimensions from the late 18th century onwards. Historically, things and sciences have always been connected through marketplaces and economies. Prior to public display, scientific things used to circulate between collectors, traders, owners, and institutions. Indeed, things acquire their unique value by means of circulation.

To focus on the economies of collections affords a clearer picture of monetary processes. As such it also draws attention to questions concerning the management, house-keeping and ordering of knowledge within collections. Economies, for instance, have shaped the archive of the cartographical publishing company Perthes in Gotha as well as the collections of the Berliner Naturkunde Museum. Furthermore, the perspective on the economies of collections allows for new discussions about contemporary scientific and political developments. Being dominated by rhetorics of cultural economies objects are defined as part of our cultural heritage.

The workshop series “Economies of Collections and the Value of Scientific Things” argues that cultural and epistemic values of objects are intrinsically linked with economic infrastructures. In part 1 – “Collections and the Marketplace” – we ask how such a history can be established. How did the scientific marketplace change when early modern collections were transferred into the possession of nation states in the late 18th century? What impact did political sponsorship have on expeditions? To what extent were private and academic markets connected? How were collections efficiently organized? What status did originals have in relation to copies? How did the economic circulation of objects shape scientific debates and what was its impact on new disciplines and institutions? In which way did 19th-century trade change the status of objects from the “typical” to the “exceptional”? How can historians come to an integrative view on processes of ordering, presenting, and marketing?

With this call for papers we invite researchers and young scholars to collaboratively explore the relations between collections and the marketplace. Contributions from different disciplines are welcome including, for instance, the history of science, the history and theory of collections, history of economics, art history and cultural studies. This call for papers is an initial articulation of our interest in “Economies of Collections” to be extended and deepened in forthcoming workshops.

The conference is a co-operation between the project “Globalisation and local knowledge: research on collections of the publishing company Justus Perthes” at the Research Institute for Social and Cultural Studies in Gotha, Universität Erfurt and the research initiative “PAN – Perspectives on Nature” at the Museum für Naturkunde Berlin. The conference will take place on November 21-22, 2013 in Gotha. Applications in German or English including abstracts (max. 500 words) and a short CV are due on May 31, 2013.
Contact: nils.guettler@uni-erfurt.de or ina.heumann@mfn-berlin.de

Organizers: Nils Güttler & Ina Heumann

Dr. des. Nils Güttler
Projekt: Globalisierung und lokales Wissen
Forschungszentrum Gotha der Universität Erfurt
Postfach 100561
99855 Gotha
+49(0)361/737-1726

Dr. Ina Heumann
PAN – Perspektiven auf Natur
Museum für Naturkunde
Leibniz-Institut für Evolutions- und Biodiversitätsforschung
Invalidenstr. 43
10115 Berlin
+49(0)30/2093-8977


Mars and Museum. European Museums during the First World War (working title)

International Conference organised by
Bénédicte Savoy (Technische Universität Berlin),
Petra Winter (Zentralarchiv der Staatlichen Museen zu Berlin – Preußischer Kulturbesitz),
Christina Kott (Centre Marc Bloch Berlin, Université Panthéon-Assas Paris)

Date: September 18, 2014 – September 20, 2014

Location: Technische Universität Berlin, Strasse des 17. Juni 135,
10623 Berlin, and the Museum Hamburger Bahnhof, Invalidenstrasse 50-51,
10557 Berlin

Submission deadline: April 30, 2013

– please scroll down for German version –

Today it has almost been forgotten that not only the Second World War
but also the First World War constituted a crucial break in the history
of European museums.  As a matter of fact, the Louvre was almost
completely evacuated and the holdings sent to Toulouse and Blois. The
Hermitage, in Saint Petersburg, was transformed into a military
hospital for several years, and its collections were transported to
Moscow. In Berlin, the marvelous coin collection from the Kaiser
Friedrich Museum (today’s Bode Museum) was endangered since the
Reichsbank, the National Bank of the German Reich, had made a claim on
it as a guarantee for its gold.  And the British Museum in London lost
11 of its curators to the war. On the Western as well as on the Eastern
Front, museum activities were interrupted or disordered for many years
due to destruction and evacuations. The acquisition of new works of art
was difficult during and especially in the aftermath of the war.
However, in many museums the war opened up unexpected opportunities to
undertake museum reforms, create new displays, and make architectural
changes. The history of European museums during the First World War has
not yet been written, or if so then only within the framework of
institutional histories of some of the large and middle-sized museums.
The aim of the scheduled conference is to highlight, for the first
time, the fate of museum buildings, museum collections, and museum
collaborators during the First World War in a transnational and
comparative perspective. Structural similarities, as well as national
characteristics, in the different museum war histories will be
analyzed. The conference aims not only to reflect the transnational
turn of museum studies but also intends to promote it by identifying
gaps and desiderata for research.

The focus of papers – which may be case studies or comparative studies
– should be on one of the following aspects:

1) Actors
Lines of action, scope, circulation, and experiences of museum
collaborators within their home institutions or behind the front line.
The role of women. Political and scientific positioning in the European
“Cultural War.” Museum activities in war areas and occupied
territories. Development of war-associated exhibitions.

2) Discourses
Involvement of museums as “temples of culture” in the battle against
the “barbarian enemy,” by means of propagandist writings and lectures
made by the different warring parties. Shaping of museum-specific
argumentation lines in ethnological museums. Development of special
terminologies at the interface between “art protection” and “art
looting.” Museums and museum collections in the visual propaganda.

3) Art Works and collections
Evacuations and war losses, protective measures at and in museums.
Restitution claims for single works of art or whole collections,
looting plans. Maintained or interrupted exhibition activities.
Transformation of museum buildings for war purposes. Art collections as
financial factors. Organization of war exhibitions behind the front
line. Acquisition politics, art market, and war. Plans for museum
rearrangements and new buildings. Dealing with excavations under museum
administration in front areas and in non-European regions.

Please send your submissions (approx. 1000 characters) for a 30-minute
lecture as well as some short biographical notes by April 30, 2013 to
Bénédicte Savoy (benedicte.savoy@tu-berlin.de) and Christina Kott
(christina.kott@u-paris2.fr). Conference languages are German, English,
and French.

******************************

Internationale Tagung

Mars und Museum. Europäische Museen im Ersten Weltkrieg [Arbeitstitel]

Prof. Dr. Bénédicte Savoy (Technische Universität Berlin), Dr. Petra
Winter (Zentralarchiv der Staatlichen Museen zu Berlin – Preußischer
Kulturbesitz), Dr. Christina Kott (Centre Marc Bloch Berlin, Université
Panthéon-Assas Paris)

Datum: 18.9. – 20.09.2014

Ort: Technische Universität Berlin, Straße des 17. Juni 135, 10623
Berlin/ Hamburger Bahnhof, Invalidenstraße 50-51, 10557 Berlin

Deadline: 30. April 2013

Es ist weitgehend in Vergessenheit geraten, dass nicht nur der Zweite,
sondern auch der Erste Weltkrieg ein bedeutender Einschnitt in der
Geschichte der europäischen Museen war. Der Louvre wurde 1914 von Paris
nach Toulouse und Blois fast komplett evakuiert. Die Eremitage in St.
Petersburg verwandelte sich für Jahre in ein Kriegslazarett und ihre
Sammlungen wurden nach Moskau verlagert. In Berlin gefährdete der Krieg
u.a. die großartige Münzsammlung im Kaiser-Friedrich-Museum (heute
Bode-Museum), die von der Reichsbank als Garantie für Gold in Anspruch
genommen wurde. Das British Museum verlor elf seiner Kustoden. In den
Operations- und Besatzungsgebieten im Westen und Osten war der
Museumsbetrieb aufgrund von Zerstörungen und der Evakuierung vieler
Sammlungen jahrelang unterbrochen oder gestört; während und besonders
nach dem Krieg blieben Neuerwerbungen erschwert. In vielen
Institutionen eröffneten sich in der unmittelbaren Nachkriegszeit aber
auch ungeahnte Möglichkeiten für die Umsetzung von Reformen,
Neuordnungen und Umbauten. Die Geschichte der europäischen Museen im
Ersten Weltkrieg ist bislang, wenn überhaupt nur im Rahmen der
Institutionsgeschichte großer und mittlerer Museen aufgearbeitet.
Ziel der geplanten Tagung ist es, das Schicksal von Museumsbauten, von
Sammlungen, sowie des Museumspersonals im Ersten Weltkrieg erstmalig
vergleichend und transnational zu beleuchten. Die strukturellen
Gemeinsamkeiten der unterschiedlichen Museumsgeschichten im Krieg
sollen ebenso beleuchtet werden wie auch nationale Spezifizitäten. So
soll die Tagung die sich zunehmend internationalisierende
Museumsforschung nicht nur widerspiegeln, sondern durch Identifizierung
von Forschungslücken und Desiderata auch entscheidend vorantreiben.

Folgende Aspekte sollen, als Fallbeispiele oder aus vergleichender
Perspektive, im Mittelpunkt stehen:

1. Akteure
Handlungsweisen, Spielräume, Zirkulation und Erfahrungen von
Museumsmitarbeitern an ihren angestammten Institutionen bzw. an der
Front. Rolle der Frauen. Politische und wissenschaftliche
Positionierungen im europäischen „Krieg der Geister“. Museumsarbeit in
den Operations- und Besatzungsgebieten. Erarbeitung kriegsaffiner
Ausstellungsprojekte.

2. Diskurse
Einbeziehung der Museen als Tempel der Kultur gegen die „Barbarei“ des
Feindes in Propagandaschriften und Vorträgen der jeweiligen
Kriegsparteien. Gestaltung museumsspezifischer Argumentationsstränge in
Völkerkundemuseen. Entwicklung spezifischer Terminologien an der
Schnittstelle zwischen „Kunstschutz“ und „Kunstraub“. Museen und
Museumssammlungen in der Bild-Propaganda der Zeit.

3. Werke und Sammlungen
Auslagerungen und Kriegsverluste, Schutzmassnahmen an und in Museen.
Forderungen nach „Restitution“ einzelner Werke oder Sammlungen,
Kunstraubpläne. Ausstellungstätigkeit bzw. Ausstellungsstopp im Krieg.
Umwidmung von Museumsgebäuden zu Kriegszwecken. Kunstsammlungen als
wirtschaftlicher Faktor. Ausstellungsorganisation an der Front.
Erwerbungspolitik, Kunstmarkt und Krieg. Neuordnungs- und Umbaupläne.
Umgang mit Museumsgrabungen in Frontgebieten und im außereuropäischen
Raum.

Skizzen zu Vorträgen im Umfang von etwa 1.000 Zeichen und kurze Angaben
zur Biographie für 30minütige Vorträge werden bis zum 30. April 2013
erbeten an Prof. Dr. Bénédicte Savoy (benedicte.savoy@tu-berlin.de) und
Dr. Christina Kott (christina.kott@u-paris2.fr). Tagungssprachen sind
deutsch, englisch und französisch.


The Role of Collectors, Critics, Curators in Artistic Practice

York, Humanities Research Centre, June 26, 2013

Deadline: Apr 26, 2013

Collaborators: The Role of Collectors, Critics, Curators in Artistic
Practice c. 1780-1914

26 June 2013, Humanities Research Centre, University of York

In May 1884 the art critic Marion Harry Spielmann wrote in defence of
the often criticised profession of art criticism: ‘The critic – (I am
not now referring to the mere notice writer of daily journalism) –
spends his life in devotion not only to art but to artists: and, so far
as public recognition is concerned, he reaps his reward in sneers and
‘chaff’: sneers from painters, thoughtless and irresponsible, like Mr
Whistler; indifference from others less splenetic and querulous.’
Spielmann, a prolific author, editor and arts administrator, was an
advocate for and close friend of numerous contemporary artists. Along
with the collectors and curators whom he frequently worked with and
wrote about, he was an active and influential participant in
contemporary art practice in late-Victorian London.

Relationships between artists, collectors, critics and curators are
often considered in isolation but rarely in tandem. Drawing upon a
diverse range of case studies, covering a variety of local and global
contexts, this one day post-graduate workshop aims to unpick
consistencies, changes and crossovers in the sometimes fraught but
often productive relationships between artists, collectors, critics and
curators in the long nineteenth century. By bringing together students,
early-career researchers and established academics, we hope the
workshop will provide an informal but stimulating forum for
conversation, debate and interdisciplinary exchange about the
nineteenth-century art world and its constituents.

We invite proposals for twenty-minute papers from postgraduate
students, early career researchers and established academics.

Papers might explore, but are not limited to, the following topics:
•    The advent of professional art critics and curators and its impact
on artistic practice
•    Patronage and collecting in the long nineteenth century
•    Artists as collectors, critics and curators
•    The fabrication and decoration of Museum buildings
•    Curating contemporary art in the long nineteenth century
•    The art press and art publishing
•    The Grand Tour/tourists as collectors, critics and curators
•    Conversations/collaborations in the studio
•    Collectors, critics, curators and local/regional/national
identities
•    Agency and authorship in artistic practice in the long nineteenth
century
•    Documents: catalogues, contracts and correspondence

Abstracts of no more than 250 words should be sent to Charlotte Drew (
ckd502@york.ac.uk) and Eoin Martin (eoin.martin@warwick.ac.uk) by
Friday 26 April.

This event is generously supported by the Centre for Modern Studies,
University of York.

Repost: Latest Calls for Participation in Spain and Latinamerica.

Here is a list of Calls, Stipends, Grants and Prizes, mainly in Spain and Latinamerica, reposted from Cultunet. Not vetted by us, but maybe helpful for you.

The Curator Ship Team


Transart Call: Hybrid Online Low-residency MFA & Studio PhD. Deadline: April 1, 2013

Transart Institute, the Unschool Art School, grew out of a desire to form a truly student-driven program that goes beyond established institutional education by offering a plethora of models and diversify input in a multi-perspective environment.

THE TRANSART EXPERIENCE
– Summer intensives in Berlin, Winter residencies in New York City
– Low-residency format allows to keep professional and family obligations while advancing career
– Workshops, seminars, professional development, studio and performance tours in every residency
– A highly individualized contemporary learning experience without grades
– Realizing creative projects with the support of curators, faculty and self-chosen advisors
– International make up of students and faculty that fosters exchange across cultural boundaries
– Offsite study, critiques and advisement wherever you live and work

MFA CREATIVE PRACTICE
A student-centered, project oriented postgraduate art program which fosters independent thinking, risk-taking and the creation of an informed and sustainable art praxis. The program is tailored to suit the needs of working artists with summer residencies in Berlin, winter residencies in New York and one-on-one advisement during the academic year, wherever students work and live. Students create their own course of study, working independently and with the support of self-chosen studio and research advisors.
http://www.transart.org/mfa-program/

FAST TRACK PhD
Exceptionally focussed and accomplished artists can apply for transfer from the MFA to the studio PhD program at the end of the first year. Students who wish to enroll in the Fast Track program apply to the MFA Creative Practice. In their second semester on the MFA they develop a doctoral proposal. At the end of the semester they can apply for Fast Track assessment. Successful applicants will be registered for the MPhil/PhD course of studies at that time.

STUDIO-BASED PhD
Transart Institute is offering a low-residency PhD program for advanced studio art. The PhD at Transart is a three-year, full-time degree program validated by the University of Plymouth, UK. The degree is offered exclusively for practice-based research (creative work) accompanied by a written thesis.
http://www.transart.org/studio-phd/

FINANCES & SCHOLARSHIPS
For PhD studies, graduates of the Transart MFA receive a 30% scholarship. The MFA application committee is authorized to award scholarships of up to 10,000 USD with acceptance into the program and up to 18,000 USD for citizens/residents of developing countries. Please note that Transart has no full scholarships. Additional financing should be available through sources in the student’s country of residence/citizenship. Private student loans are available via Sallie Mae International.

TRANSART FACULTY
comes from a wide range of academic and artistic backgrounds as well as geographic locations. Current theoretical areas of expertise include curatorial work, cyberfeminism, African diaspora, interface technologies, digital arts, continental philosophy, media, social studies in colonialism, capitalism and tourism, word and image relationships, and contemporary asian art history. Studio faculty include international artists working with sound, performance, dance and choreography, photography, drawing, sculpture, film and video, intervention and installation. Details and bios can be found at the link below.
http://www.transart.org/faculty/

TRANSART STUDENTS
are emerging and mid-career artists and teachers at tertiary institutions. Students’ experiences at the Institute are unique and often transformational. You can learn more about the experiences other students have had at Transart here: http://www.transart.org/student-profiles/

APPLICATION DEADLINE: April 1, 2013

CONTACT AND FURTHER INFORMATION
Subscribe to our newsletters here: http://www.transart.org/newsletter/
To schedule an appointment with faculty please email Drew Henmi: henmi@transart.org.

Transart Institute
Mail: 228 Park Ave. South
New York, NY 10003
+1 (347) 410 9905
http://www.transart.org
info@transart.org

Deadline Reminder March: Scholarships, competitions, residencies, exhibitions. (Repost from e-artnow)

Please note: As done before, we hereby repost part of e-artnow’s Deadline Reminder of today, without having vetted its content, yet hoping that you find something of interest for you.

 

STUDIES & SCHOLARSHIPS (ACADEMICS, ARTISTS, CURATORS & CRITICS):

AHRC PhD Studentships at Glasgow School of Art, UK.
Deadline: March 15, 2013
http://www.gsa.ac.uk/study/graduate-degrees/doctoral-study/

Bern University of the Arts: Call for applications. Master of Arts in Contemporary Arts Practice. Bern, CH.
Deadline: March 15, 2013
http://www.hkb.bfh.ch/en/studies/master/macap/

Der DAAD bietet für besonders qualifizierte promovierte deutsche Nachwuchswissenschaftlerinnen und Nachwuchswissenschaftler Stipendien für weiterqualifizierende Forschungsaufenthalte im Ausland an. Bewerbungen aus den Geisteswissenschaften sind hoch willkommen! Germany.
Deadline: March 15, 2013
http://www.daad.de/ausland/studieren/stipendium/de/70-stipendien-finden-und-bewerben/?detailid=218

Margaret R. Mainwaring Curatorial Fellowship – Prints, Drawings & Photographs Philadelphia Museum of Art. USA, PA, Philadelphia.
Deadline: March 15, 2013
https://home.eease.adp.com/recruit/?id=3709591

Call for submissions to artists, artist groups, theorists, curators and other cultural producers. Cologne, Germany.
Deadline: March 20, 2013
http://www.academycologne.org/

Royal Academy of Fine Arts (KASK) and Royal Conservatory / School of Arts Ghent: Call for Applications – English Master Studies. Belgium.
Deadline: March 25, 2013
http://www.kask.be/index.php?/english/english_master_program

Call for Applications – Master Fine Arts at Zurich University of the Arts (ZHdK), Department of Art & Media. CH.
Deadline: March 28, 2013
http://www.zhdk.ch/?ma_fine_arts

Postgraduate Funding Opportunities: 6 PhD Scholarships (3 years full-time) University of St Andrews School of Art History. UK.
Deadline: April 1, 2013
http://www-ah.st-andrews.ac.uk/post/pg-funding.html

Knight Curatorial Fellowship at the Museum of Art, Miami Beach. For US citizens only. USA.
Deadline: April 1, 2013

knight curatorial fellowship

The Sandberg Instituut is pleased to announce the launch of the School of Missing Studies, a Master’s program on Art and Learning, headed by Bik Van der Pol. Commencing in September 2013, the School of Missing Studies is now open for applications. NL.
April 1, 2013
http://www.sandberg.nl/

Fondazione Antonio Ratti, Matt Mullican: Meaning of Things Workshop: Open Call for Young Artists. XIX CSAV – Artists Research Laboratory. Italy.
Deadline: April 4, 2013
http://www.fondazioneratti.org/

Funen Art Academy is accepting applications for its five-year independent higher education study program in contemporary visual arts. Odense, Denmark.
Deadline: April 5, 2013
http://www.funenartacademy.com/

Apply now for Salzburg International Summer Academy of Fine Arts 2013: How to approach fictional and non-fictional stories? Some 90 grants, usually covering tuition costs only, are available for participation in one of the courses at the Summer Academy. Austria.
Deadline: April 10, 2013
http://www.summeracademy.at/COURSES-2013_230.html

Sotheby’s Institute of Art: A Summer of Art in London and New York: 4 Week Summer Courses in London: Starting 28 May and 25 June, 4 Week Summer Courses in New York: Starting 3 June and 8 July, 2 Week Summer Courses in New York: Starting 3 June, 17 June, 8 July and 22 July. in UK and in the USA.
Deadline: asap.
http://www.sothebysinstitute.com/summer2013

Ecole cantonale d’Art du Valais: Candidatures for Hansjoerg Wyss Scholarship for academic year 2013-2014 are open! CH.
Deadline: April 15, 2013
http://www.ecav.ch/en/international/bourse-wyss.html

PhD Research Funded Studentship: Visual Culture at Loughborough University -School of the Arts, English and Drama. UK.
Deadline: May 13, 2013
http://www.lboro.ac.uk/departments/sota/research/postgraduate/Sudentships.html

RESIDENCIES (ARTISTS):

Nordic Artists´Centre Dale Open Call Artist in Residence 2014. Norway.
Deadline: March 15, 2013
http://www.nkdale.no/

Artist residence in Rome, at c.r.e.t.a.: New international residency for ceramicists and visual artists. Italy.
Deadline: March 15, 2013
http://www.cretarome.com

Centro Selva Artist Residency 2013. Experience 21 intense days immersed in the life, culture and art of Peru’s rural tropical rainforest. Peru.
Deadline: March 15, 2013
http://centroselva.com/

Grant Wood Fellow Residency and Teaching opportunity in Printmaking, Painting/Drawing 2013/2014 University of Iowa, School of Art & Art History. USA.
Deadline: March 17, 2013
http://jobs.uiowa.edu/

Berwick Visual Arts Residency program offers the possibility to visual artists to research and develop a project and/or new work. UK.
Deadline: March 22, 2013
http://www.maltingsberwick.co.uk/bva

Dublin City Council Art’s Office is pleased to announce an open call to Irish and international Artists’ and Arts Organisations interested in applying for Albert Cottages Residential Artists’ Studios.
Deadline: March 29, 2013
http://www.albertcottages.com/

Dublin City Council Art’s Office is pleased to announce an open call to Irish and international Artists’ and Arts Organisations interested in applying for St. Patrick’s Lodge Residential Artists’ Studio.
Deadline: March 29, 2013
http://www.st.patrickslodge.com/

Artist-In-Residence International Program 2013 at Buenos Aires: Fundación ‘ace para el Arte Contemporáneo. Argentina.
Deadline: March 30, 2013
http://www.proyectoace.org/application

Kriti Gallery & Residency invites applications for artist in residence for all fields of art. India.
Deadline: March 31, 2013
http://www.kritigallery.com/

Cow House Studios Artist Residency: CHS provide accommodation & studio space for professional visual artists working in any discipline. Ireland.
Deadline: March 31, 2013
http://www.cowhousestudios.com/ireland/for-artists/residency.html

New Pacific Studio Mount Bruce: applications now open from creative artists and scholars for period June 1- December 31, 2013. New Zealand.
Deadline: March 31, 2013
http://www.newpacificstudio.org.nz/

Impakt Works Residencies at Impakt, Utrecht, The Netherlands.
Deadline: April 1, 2013
http://impakt.nl/headquarters/works/call-for-artists-impakt-works-residencies-2012/

maumau artist-in-residence program. Turkey.
Deadline: April 13, 2013
http://www.maumauartresidency.com/

Bogliasco Foundation Fellowship Program at the Liguria Study Center in Bogliasco. Open to international artists and scholars in all of the humanistic disciplines. Italy.
Deadline: April 15, 2013
http://www.bfny.org/

Praire Center of the Arts Residency. USA
Deadline: April 15, 2013
http://prairiecenterofthearts.blogspot.com.br/p/application_29.html

Applications to Nes Artist Residency may be submitted at any time (open call). Iceland.
Deadline: ongoing
http://neslist.is/application/application-form/

International private Artist Residencies in Budapest 2013. Hungaria.
Deadline: ongoing
http://www.hungarian-multicultural-center.com/id93.html

McColl Center for Visual Art’s residency program: ARTIST-IN-RESIDENCE + ENVIRONMENTAL ARTIST-IN-RESIDENCE. USA.
Deadline: Anytime
http://www.mccollcenter.org/artists-in-residence/submit-materials-for-residency-programs

Artist in Residency Program, Shanghai @ The Swatch Art Peace Hotel, Shanghai, China.
Deadline: Anytime.
http://www.swatch-art-peace-hotel.com/apply

Chinese Arts Centre: The Whisper Residency gives you a taster session of Breathe, being able to live and work within the residency space but for 1 month. Manchester, UK.
Deadline: Anytime.
http://www.chinese-arts-centre.org/get-involved/professional-development/residency-programmes/

Spark Box Studio’s Artist Residency Program provides live/work space to accommodate both emerging and professional printmakers, photographers, painters, illustrators, curators and writers. Canada.
Deadline: Ongoing

RESIDENCY

RESIDENCIES (CRITICS, CURATORS):

Curatorial Residency at Flux Factory, NYC, USA.
Deadline: March 15, 2013
http://www.fluxfactory.org/news/residency-opportunities-in-2013-2014/

Node Curatorial Studies Residency Program: next residency period: From June 4th to August 27th, 2013? Berlin, Germany.
Deadline: March 27th, 2013
http://www.nodecenter.org/curatorial-program/

New Pacific Studio Mount Bruce: applications now open from creative artists and scholars for period June 1- December 31, 2013. New Zealand.
Deadline: March 31, 2013
http://www.newpacificstudio.org.nz/

International fellowship in cultural studies of contemporary art: the National Museum of Contemporary Art, Korea hosts an international research program for the museum professionals including curators, art critics, conservators, exhibition designers, educators and etc. Korea.
Deadline: April 15, 2013
http://www.moca.go.kr/engN/engNEduNEvt.do?_method=Eifp

2013–14 curator residencies – Fogo Island Arts, Canada.
Deadline: June 1, 2013
http://www.fogoislandarts.ca/

Belvedere: Das CIR-Programm (Curator-in-Residence) des Belvedere/21er Haus richtet sich an Kuratorinnen und Kuratoren weltweit, die für die Dauer von drei bis fünf Monaten im Belvedere/21er Haus insbesondere zu einem für die Sammlung des Museums relevanten Thema forschen mőchten. Austria.
Deadline: ongoing.
http://www.belvedere.at/de/forschung/cir

Spark Box Studio’s Artist Residency Program provides live/work space to accommodate both emerging and professional printmakers, photographers, painters, illustrators, curators and writers. Canada.
Deadline: Ongoing

RESIDENCY

Kunsthaus Aussersihl – Rotationsatelier – a residency-project by the Kunsthaus Aussersihl in collaboration with the index-Freiraum residency (August 2012 – September 2013).
Deadline: Ongoing.
http://www.kunsthausaussersihl.ch/udb/cproNFSxQGAusschreibung_Rotationsatelier_e.pdf

PRIZES, COMPETITIONS, EXHIBITION PROPOSALS (CURATORS, SCHOLARS):

Impakt Festival 2013 call for curators: Capitalism Catch-22 (working title). The curator or curatorial team can be responsible for the entire festival programme comprising films, lectures, new media projects, presentations, a music programme and an exhibition. It is also possible to submit a proposal for one or several parts of the festival programme. Utrecht (NL).
Deadline: March 18, 2013
http://www.impakt.nl

Collaboration Grants at the European Cultural Foundation, EU.
Deadline: March 25, 2013
http://www.culturalfoundation.eu/grants/collaboration-grants

Allianz Cultural Foundation Call for Projects including cooperation partners from at least 3 European and Mediterranean states. Germany.
Deadline: March 31, 2013.
https://kulturstiftung.allianz.de/en/foundation/guidelines_and_criteria_funding/index.html

Roberto Cimetta Fund – open call for travel grants: Artists and cultural operators living and working in Europe, the Middle East and North Africa can apply in Arabic, English or French. Priority is given to mobility from the South and East of these regions. France.
Deadline: March 31, 2013
http://www.cimettafund.org/

The 2013 Colección Patricia Phelps de Cisneros Travel Award for Central America and the Caribbean. USA.
Deadline: April 1, 2013
http://www.curatorsintl.org/journal

Sound Art Curating: if you would like your abstract to be considered for the seminar in August at ZKM Karlsruhe, the abstract should be submitted by April 15, 2013. Please write under the title of your abstract: “Please consider for ZKM session.” All abstracts will be considered for the session in London in 2014. Europe.
Deadline: April 15, 2013
http://soundartcurating.org/call-for-submissions.html

Young Curator Program at Canadian Centre for Architecture. CA.
Deadline: April 15, 2013
http://www.cca.qc.ca/en/study-centre/1954-curatorial-opportunities-2013

Internationaler Nachwuchsfőrderpreis des Zentralinstituts für Kunstgeschichte in München für herausragende Forschungsarbeiten zur Angewandten Kunst. Germany.
Deadline: April 30, 2013
http://www.zikg.eu/main/forsch/exfak.htm

CUE 2013 OPEN CALL FOR CURATORIAL PROPOSALS (NEW YORK): This program provides one deserving curator with the necessary time and resources to realize an innovative project with the aim of encouraging curatorial research in tandem with exhibition planning. USA.
Deadline: April 30, 2013
http://cueartfoundation.submittable.com/

The Franchise – world wide curatorial open call, apex art, NYC, USA.
Deadline: May 3, 2013
http://www.apexart.org/franchise.php

Call for Papers – Envisioning the Practive: Montréal International Symposium On Performing Arts Curation. Canada.
Deadline: June 1, 2013
http://www.acaq.ca

Call For Proposals, Journal Of Curatorial Studies: original research articles on the subject of curating, exhibitions and display culture. The journal also seeks reviews of recent exhibitions, books and conferences. UK.
Deadline: ongoing.
http://www.facebook.com/JournalOfCuratorialStudies

IKT – International Association of Curators of Contemporary Art: call for membership applications. To apply to become a member of IKT, please see our website.
Deadline: ongoing (permanent).
http://www.iktsite.org

COMPETITIONS, EXHIBITIONS, GRANTS, PROPOSALS (ARTISTS):

Call for proposals: Region 0 – The Latino Video Art Festival of New York. The Festival is open to all Spanish, Latin American, or US of Latin descent artists, older than 21. USA.
Deadline: March 15, 2013
http://www.regionzero.net/

Call for entries for visual artists working in any medium: The London Group Open 2013. UK.
Deadline: March 15, 2013
http://www.thelondongroup.com/

100 Painters of Tomorrow is an ambitious new project, initiated by curator and gallerist Kurt Beers and the publishers Thames & Hudson, to find the 100 most exciting painters at work today. London, UK.
Deadline: March 15, 2013
http://www.100paintersoftomorrow.com/

LIFE by MEDIA International Competition – The Yamaguchi Center for Arts and Media [YCAM]. Japan.
Deadline: March 15, 2013
http://10th.ycam.jp/lifemedia

Talent Development – Project Bursaries at “a space”, Southampton, UK.
Deadline: March 15, 2013
http://www.aspacearts.org.uk/projects/talent-development/

Vevey International Photo Award 2013/2014, Switzerland.
Deadline: March 15, 2013
http://www.images.ch/2013/en/

The Mark Tanner Sculpture Award is unique in its combination of offering both financial support towards the production of new work and a solo exhibition to an exceptional emerging sculptor. London, UK.
Deadline: March 17, 2013
http://www.standpointlondon.co.uk/mtsa.html

Beyond Time 2013 open call for site-specific works: Bielska Gallery BWA & Bielska Gallery Foundation, Poland.
Deadline: March 20, 2013
http://artistinresidence.blog.com/sample-page/

The Prequel Programme | Open call for submissions: The Founding Phant exhibition, Ormston House Gallery. Limerick, Ireland.
Deadline: March 20, 2013
http://www.prequel-ormstonhouse.com/

Call for submissions to artists, artist groups, theorists, curators and other cultural producers. Cologne, Germany.
Deadline: March 20, 2013
http://www.academycologne.org/

vkunst 2013: Call for Entries. Video and Media Art Exhibiton. Frankfort, Germany.
Deadline: March 22, 2013
http://www.v-kunst.de/

Submissions are now being accepted for Belfast Photo Festivals Open Exhibition based under the broad theme ‘Spectacle.’ UK.
Deadline: March 31, 2013
http://www.belfastphotofestival.com/

Daiwa Foundation Small Grants, London, for UK and Japan only.
Deadline: March 31, 2013
http://www.dajf.org.uk/grants-awards-prizes/daiwa-foundation-small-grants

Allianz Cultural Foundation Call for Projects including cooperation partners from at least 3 European and Mediterranean states. Germany.
Deadline: March 31, 2013.
https://kulturstiftung.allianz.de/en/foundation/guidelines_and_criteria_funding/index.html

Roberto Cimetta Fund – open call for travel grants: Artists and cultural operators living and working in Europe, the Middle East and North Africa can apply in Arabic, English or French. Priority is given to mobility from the South and East of these regions. France.
Deadline: March 31, 2013
http://www.cimettafund.org/

The Franklin Furnace Fund awards grants to emerging artists. NYC, USA.
Deadline: April 1, 2013
http://franklinfurnace.org/artists/franklin_furnace_fund/index.php

AFAC Grants 2013: Call for proposals that target the Arab region: Literature, Performing Arts and Visual Arts.
Deadline: April 1, 2013
http://www.arabculturefund.org/home/index.php

The Open West Exhibition, Newark Park & Cheltenham, UK.
Deadline: April 2, 2013
http://www.theopenwest.org.uk/

Ora International: 10 Worldwide Galleries from New York to Hong Kong Seek New Artists. Worldwide.
Deadline: April 10, 2013
http://www.premio-ora.it/international/EN/index.php

SPEAP / Sciences Po. Call for application 2013: Programme of experimentation in arts and politics. Paris, France.
Deadline: April 22, 2013
http://blogs.sciences-po.fr/speap/

L’iselp is pleased to invite you to take part in the second edition of the Pause publique competition to create a work of art in the Parc d’Egmont, part of the City of Brussels. Belgium.
Deadline: April 22, 2013
http://www.iselp.be/index.php/Integration-artistique/

Artangel presents an initiative for new site-specific commissions across the UK.
Deadline: April 29, 2013
http://www.artangel.org.uk/open

The Soap Factory is currently accepting submissions for our 2014 exhibition season. Artists working in all media are encouraged to submit proposals. The Soap Factory curates group and solo exhibitions from the submitted pool of work each year. Minneapolis, MN 55414 USA.
Deadline: April 30, 2013
http://soapfactory.org/submissions.php

The TJ Foundation opens a new acquisitions campaign, dedicated to contemporary artists’ works created during 2012. The TJ Art Foundation will evaluate all kinds of artworks, including video, installations and performances. The artists and group of artist can propose until 10 different artworks.
Deadline: April 30, 2013
http://www.tjartfoundation.org/Foundation/Acquisition_campaign.html

The Kala Fellowship award is an international competition open to artists from the U.S. and around the world. Artists producing innovative work in book arts, electronic/digital media (video, sound, animation, etc.), installation art, social practice, photography, and printmaking are encouraged to apply. USA.
Deadline: May 24, 2013
http://www.kala.org/fellow/fellowship.html

Survival Kit/Umeå invites artists from all corners of the world to apply for the Survival Kit Festival which will take place in Umeå city and its surroundings from 20th September to 19th October, 2014. Sweden.
Deadline: September 1, 2013
http://www.survivalkitfestival.se/

Parker Harris: exhibitions, competitions, commissions, awards and prizes open to artists both in the UK and internationally. Many offer significant prize money and commissioning opportunities for artists according to the individual exhibitions and projects. UK.
Deadline: asap.
http://www.parkerharris.co.uk/artists/awards/

Donegal Public Art Office: various opportunities for public art. IE.
Deadline: asap.
http://www.donegalpublicart.ie/opportunities.htm

Repost from e-artnow.org

Photobook Festival Kassel’s Dummy Award. Deadline: 30 April 2013

Registration for Dummy Award 2013 open

Present your unpublished photobook to international experts to win a complete book production by the German publishers seltmann+söhne and a presentation in the art magazine European Photography. Take this opportunity to win further prizes and the presentation of your book in Milan: »MIA | Milan Image Art Fair«, in Dublin »PhotoIreland Festival«, in Paris: »Le Bal« and in Kassel: »6th International Photobook Festival«. Entries close on 30 April 2013. Latest arrival day of submitted books is 2 May.

Entry conditions 2013 – Winners 2012 | 2011 | 2010
The Dummy Award is part of the 6th International Photobook Festival Kassel.

The basic Entry fee without return of the dummy is 34€ (Entry with return Europe: 47€, Entry with return International: 54€)

The International Photobook Festival is held at documenta-Halle Kassel from 24.10. to 27.10.2013. With lectures, workshops, presentations, and the well-established Dummy Award, the festival has become a Mecca for the photobook experts, being the place to identify trends, find the latest publications, and network. In collaboration with the 6th International Photobook Festival, PhotoIreland offers on July 2013 a great opportunity to the 50 Dummy Award finalists: they will see their books presented for the first time in Dublin, to Irish audiences and to our international guests, portfolio reviewers, curators, festival directors, magazine editors, and publishers. Undoubtedly, it represents an added opportunity to the finalists whose work will also travel to Milan and Paris before being showcased at Kassel.

CONTACT Portfolio Review. Application open from today to April 15, 2013. Toronto.

Name: CONTACT Portfolio Review

Organizer: Scotiabank CONTACT Photography Festival

Date & Place: May 4-5, 2013. Toronto, Canada

Application Deadline: April 15, 2013

Profiles of Reviewers: Curators and directors, art dealers, publishers and photo editors are brought together for two days during CONTACT to review portfolios of established and emerging artists, with a focus on documentary, photojournalism or photo-based art practices.

Registration Fee: $200 for 4 reviews.

Number of reviews: 4

Price / Review Ratio: $50 per review

Web: www.scotiabankcontactphoto.com

Email:  portfolioreviews@contactphoto.com

Presentation Text:

CONTACT’s Portfolio Reviews provide an unparalleled opportunity for artists and photographers to meet with some of the most important professionals in the field of photography. The event is a platform for those with developed projects that are seeking opportunities for publishing and exhibiting nationally or internationally, as well as guidance on conceptual approaches or career development.

Each year, one artist will be awarded with a solo exhibition presented at the CONTACT Gallery. This award, chosen by a jury of international professionals in the field of photography, recognizes outstanding work presented at CONTACT’s  Portfolio Reviews. The program was created to support and advance the careers of talented emerging photographers.

The Curator Ship – Portfolio Reviews 2013: https://thecuratorship.wordpress.com/2011/01/06/296/#pf12

Palm Springs Portfolio Review. Deadline: April 5, 2013 or 100 applications.

Name: Palm Springs Portfolio Review

Organizer: Palm Springs Photo Festival

Date & Place:  April 29 – May 3, 2013. Palm Springs, California, USA

Application Deadline: April 5, 2013 or 100 attendees

Number of Participants: 100

Profiles of Reviewers: Publishers, photo editors, photography agents, gallery directors, photography critics, advertising agency creatives, magazine editors and museum directors from the US.

Registration Fee: Prices are $275 for 5 reviews. 10% discount for 10 or more reviews Number of reviews: min 5

 Web: www.palmspringsphotofestival.com

Email: information@palmspringsphotofestival.com

Presentation Text:

Over 1000 Portfolio Reviews will be offered during the week! A list of the most sought-after industry professionals of any event in the country will be posted online and every morning at the Portfolio Review area at the Hyatt, updated hourly. You may show your work as prints or on your computer. Please limit your presentation to not more than 20 images in order to allow the person you’re meeting with to properly respond to your work.

A place to present work is available to the first 80 attendees to sign up for Portfolio Reviews at our OPEN PORTFOLIO REVIEW on Sunday April 28 at the Hyatt Regency Hotel in Palm Springs. Fee to attendees pre-registered in the Portfolio Program is $47.50. For those not registered for Portfolio Reviews, an attendee is still able to present work at the Open Portfolio Review with the payment of a $95 fee (subject to availability).

Announcing the 3rd Annual PSPF Portfolio Review Prize: Portfolio Reviewers will collectively vote on the work they see during the festival and prizes will be awarded to the winner.
Gifts shipped free to US Residents only

The Curator Ship – Portfolio Reviews 2013: https://thecuratorship.wordpress.com/2011/01/06/296/#pf12