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NextGen 6.0 Call. Deadline: May 10, 2019

NextGen 6.0 is calling all DMV aspiring artists. 
VisArts welcomes artists ages 17 – 27 in the DC, Maryland, and Virginia area to submit their application for NextGen 6.0, our sixth exhibition in our Kaplan Gallery from June 12 – July 21, 2019. NextGen 6.0 is an opportunity for aspiring artists with little to no experience exhibiting their work in a professional gallery.
VisArts is a non-profit organization whose mission is to transform individuals and communities through the visual arts. VisArts provides children, teens and adults with opportunities to express their creativity and enhance their awareness of the arts.

Online applications are due by May 10, 2019, 11:59 pm at visartscenter.org/call-for-entries. Please keep in mind that submission does not guarantee acceptance. Applicants should have little or no experience exhibiting in a professional gallery. Previous NextGen participants are ineligible. Previous NextGen applicants who were not selected may re-apply for this year’s exhibition.

After reviewing all works, selected artists will be notified by May 17.
All submissions will be juried by professional artists and curators (names to be announced).
Keep in mind that if accepted into the exhibition, you will be expected to drop off accepted artwork to the gallery on Tuesday, May 28, anytime between 10AM- 6PM.  Artwork will not be accepted before or after these available dates and times. 
Application Deadline: Friday, May 10, 2019, 11:59 PM

This year the jurors are:

Kayleigh Bryant-Greenwell- Head of Public Programs, Smithsonian American Art Museum and Renwick Gallery

Lou Joseph-Visual Arts Specialist at the Baltimore Office for Promotion & The Arts, and  the director of the Institute of Contemporary Art, Baltimore

Website Link: https://visarts.submittable.com/submit/130867/nextgen-6-0

CFP (Media-N): Art & Labor in the Amazon Economy. Deadline: May 1, 2019

Subject: CFP: Special issue of Media-N: Art & Labor in the Amazon Economy

Deadline: May 1, 2019

Media-N: Journal of the New Media Caucus

Special Thematic Issue: “Humans Are Underrated: Art & Labor in the Amazon Economy”

Media-N, Journal of the New Media Caucus, invites submissions for a special themed issue on the changing status of art and labor in the digital age. The issue borrows its title from a best-selling managerial tract, Humans are Underrated: What High Achievers Know That Brilliant Machines Never Will, which instructs companies on how to prioritize and reward undervalued forms of human labor as an effective business strategy in an age of increasing automation. Such “underrated” labor forms include storytelling, improvisation, spontaneity, critical and aesthetic judgment, creativity, empathy, authenticity, sincerity, attention, intimacy, care, cheer, and humor. Often referred to as “soft skills,” these “human” capacities are also (and not coincidentally) typically associated with artistic production. By engaging in these activities and behaviors, human workers generate forms of surplus value more effectively and convincingly than their machine counterparts—at least, for the time being. But inasmuch as the notion that “humans are underrated” responds to the substitution of human workers by computerized systems, the underlying question of what will constitute exclusively “human” labor in an increasingly automated future remains in flux.

Spearheading this transformation in the meaning and value of work are major tech corporations like Amazon, which currently ranks second to Walmart as the largest U.S.-based corporate employer in the world. Amazon’s worker base extends beyond its warehouses and corporate offices, and includes employees of subsidiary companies like Whole Foods, the thousands recruited to run its new HQ2 (locations now TBD), and legions more part-time workers who perform deliveries for services like Prime Now. Even more dispersed, and much less visible, are those employed via Amazon’s global microlabor platform Mechanical Turk, described as “an on-demand, scalable, human workforce to complete jobs that humans can do better than computers.” Essentially, mTurk is a marketplace that enables anyone to become a “requester” in order to advertise “Human Intelligence Tasks” (HITs), typically simple assignments like filling out surveys, analyzing receipts, performing online research, transcribing audio or writing captions. The vast majority of these micro-tasks take less than a minute to complete and pay around five to ten cents. While most HITs are used for the purposes of marketing and industry research, in the aggregate, these tasks contribute to the longer-term goal of improving algorithms so that computers can be “trained” to behave more like human beings.

Much criticism has been leveled against Amazon’s workplace culture, from the unsafe conditions, long shifts, and low wages at its warehouses, to the notoriously cutthroat culture of its corporate offices. However, the labor performed by its global workforce of mTurkers remains largely invisible and behind-the-scenes. As a result, the impact of companies like Amazon on the future of human labor, not just in the U.S. but world-wide, has yet to be fully grasped.

This special issue of Media-N seeks submissions that examine the role of art, and specifically new media art, in addressing the ongoing transformation of human labor in an economy dominated by corporate tech behemoths like Amazon, and by extension, how this transformation impacts the meaning and significance of artistic labor. We seek contributions from scholars, critics, artists, designers, scientists, media-makers, and interdisciplinary researchers from across the humanities and sciences who are interested in the relation between digital media and human labor. Individual and collaborative submissions are welcome.

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. The journal provides a forum for scholarly research, artworks and projects, and is open to submissions in the form of papers, reports, and reviews of exhibitions and books on new media art. Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 16th edition of the Chicago Manual of Style.

TIMELINE:
May 1, 2019: Deadline for submission of abstracts.
May 15, 2019: Notification of accepted proposals and invitation to submit paper.
July 30, 2019: Projected deadline for submission of final papers.

ABSTRACT GUIDELINES:
Please send your proposal by email with the following information combined into a single document:
-Proposal Title, and a 300-500 word abstract, plus 1-2 images if desired.
-Please include your name, email, and title/affiliation on abstract.
-A condensed CV (no longer than 3 pages).
NOTE: Materials should be submitted in English, as a Word document or PDF.
File should not exceed 5MB.

SEND SUBMISSIONS TO:
Johanna Gosse, Executive Editor: johannagosse@gmail.com
Carrie Ida Edinger, Managing Editor: edingercarrie10@gmail.com

Reference / Quellennachweis:
CFP: Special issue of Media-N: Art & Labor in the Amazon Economy. In: ArtHist.net, Apr 9, 2019. <https://arthist.net/archive/20580>.

ITINERANT Performance Art Festival NYC, Deadline May 4

Call for artists, ITINERANT Performance Art Festival NYC, deadline May 4

 

ITINERANT

May 20-25, 2019

* Queens Museum, * Last Frontier NYC, * Grace Exhibition Space, * La Guardia Community College (Symposium), * Bronx Academy of Arts and Dance, BAAD * Smack Mellon, * Flushing Meadows Corona Park.

 

ITINERANT, the annual Performance Art Festival NYC, invites artists to submit works for consideration in its 9th edition to take place May 20 – 25, 2019 at various venues in the five boroughs in New York City.  ITINERANT 2019 will also include a video showcase, and the one day symposium “Interlaced.”

 

This year’s festival will focus on works that explore, treat, propose, and consider somatic (re)constructions and (re)presentations regarding gender, nationality, identity, and civil status. Departing from the current socio/politico/economic transformations around the globe, ITINERANT encourages artists to send their proposals for consideration in the festival’s 2019 edition. Artists working in contemporary performance art, visual performance art, transmedia performance (sound, video and emerging technologies), movement based performative practices, and video performance are encouraged to apply.

 

The festival will take place at various venues in the five boroughs in New York City. Artist considering to apply don’t have to specify a particular location, and are not required to participate in all hosting institutions. ITINERANT will select and coordinate schedules according to the program’s vision, nature of proposed performance(s) and the space.

 

GUIDELINES:

* Online Deadline is Saturday, May 4th, Midnight.

* Performances can be up to 30 minutes in duration.

* Durational performances can be 2-3 hours minimum.

* Artists can submit up to 2 new works for consideration.

* Single or collaborative projects are accepted.

 

SUBMISSION MATERIALS:

* To help facilitate the selection process, please follow guidelines carefully by including all requested information. Selected artists will be contacted through email.

 

* Complete the Application Form ( https://docs.google.com/forms/d/e/1FAIpQLSeqFFI3_K6ghQ2d3wQ8X6iixnkyWoDnlQKPgGe_3NZxsYvvKw/viewform?fbclid=IwAR0jO-63MV9dopeXYKehvFooABj4nSaICrnTSXiTa7maNeg2et34ZabTHBM ).

 

* Email up to 5 images (JPG Format) + Image List (Title, year, and credits of the image) through the online Application Form

 

PROCESSING FEE:

$15.00 PAYPAL your contribution (registration donation) helps cover some of the administrative costs of the festival.

 

About the festival:

ITINERANT was created in 2010 by interdisciplinary artist Hector Canonge. The initiative was a small platform for Contemporary Performance Art, and had its origins in the monthly series A-Lab Forum that Canonge organized at Crossing Art Gallery in Flushing, Queens. Following the growing interest in Live Art, and the need to present performance programs in the borough, ITINERANT was launched in 2011 under the auspices of QMAD, Queens Media Arts Development. In 2012, ITINERANT was recognized by the City of New York as the first Performance Art festival taking place in the five boroughs (Queens, Manhattan, Bronx, Brooklyn and Staten Island) that make the metropolitan region. Following the large scale venture in NYC, Canonge journeyed through Europe and Latin America creating, in 2013, the Spanish edition of the festival and calling it Encuentro ITINERANTe with public presentations in various cities in the Southern Hemisphere. In 2015 the festival featured 30 artists from over ten countries with presentations at the Queens Museum, Bronx Museum of the Arts, Momenta Art, Glasshouse ArtLifeLab with Public Interventions at 37th Rd. Pedestrian Plaza, and at Manuel de Dios Unanue Triangle Plaza, in Queens, NYC.

 

The latest edition of the festival took place in 2018 with the participation of local, national and international artists whose works were featured at the Queens Museum, Bronx Museum of the Arts, and the performance art venues: The Last Frontier, Grace Exhibition Space, and Panoply Performance Laboratory. The festival’s closing event was marked by public performances at the historical landmark of Flushing Meadows Corona Park, site of the 1939 and 1969 World’s Fairs.

Please note that as an independent artist-run initiative, ITINERANT is not able to pay honorarium, reimburse the cost of travel and/or accommodations or any related expenses. However, the festival provides “capital-intrincic value” by giving artists unparalleled visibility and exposure by fostering the production and presentation of works in important venues in the United States, Europe and Latin America.

 

Contact: itinerant.paf@gmail.com

Website: http://www.hectorcanonge.net/itinerant

Facebook: https://www.facebook.com/itinerantpaf

 

Curators’ Meeting, Arles. Deadline: May 13, 2019

CALL FOR APPLICATIONS

For the first time, the Rencontres d’Arles and the French Ministry of Culture are launching a professional matinée open to all curators.

Thursday July 4, 2019 at 9 am

TEMPLE ARLES BOOKS

Deadline for submitting projects:

May 13, 2019

> APPLICATION MUST BE FILLED ONLINE HERE <

DETAILS

The Curators’ meeting is intended for institutions and curators wishing to present a new exhibition project involving the image or photography to a professional public. The event aims to encourage the production or coproduction of the projects presented.

An institution, cultural organization, collective or freelance curator may submit the project.

The Ministry of Culture, Temple Arles Books and the Rencontres d’Arles will select around 10 projects, which will be presented to an audience of professionals. The project’s organizer will make a brief (10 minutes) presentation in English or French. A luncheon will follow the meeting.

If you would like to attend the event, please send an e-mail to: curatorsmeeting@rencontres-arles.com

If you have any questions or encounter difficulty logging on, filling out the online application or downloading the documents, please write to: curatorsmeeting@rencontres-arles.com


APPEL À CANDIDATURES

Les Rencontres d’Arles et le ministère de la Culture lancent pour la première fois une matinée dédiée aux professionnels et proposent un Curators’ meeting ouvert à tous les commissaires d’exposition.

Jeudi 4 juillet 2019 à 9h

TEMPLE ARLES BOOKS

Date limite de dépôt des projets :
13 mai 2019
13 mai 2019

> DOSSIER DE CANDIDATURE À REMPLIR ICI <

MODALITÉS DE PARTICIPATION

Le Curators’ meeting s’adresse aux institutions et commissaires souhaitant présenter à un public professionnel un projet inédit d’exposition en lien avec l’image ou la photographie. Cet événement vise à encourager la production ou la coproduction des projets présentés.

Le projet peut être porté par une institution ou une structure culturelle, un collectif ou un commissaire d’exposition indépendant.

Une dizaine de projets seront sélectionnés par le ministère de la Culture, Temple Arles Books et les Rencontres d’Arles, et présentés devant un auditoire de professionnels. Chaque projet d’exposition donnera lieu à une présentation brève (10 minutes) en anglais ou en français par son organisateur. La rencontre sera suivie d’un déjeuner.

Si vous souhaitez assister à la présentation des projets, confirmez votre inscription en envoyant un mail à l’adresse : curatorsmeeting@rencontres-arles.com

Si vous avez des questions ou si vous rencontrez des difficultés à vous connecter, remplir le dossier en ligne ou télécharger les documents, nous vous remercions d’écrire à : curatorsmeeting@rencontres-arles.com

ARAB DOCUMENTARY PHOTOGRAPHY PROGRAMME. DEADLINE: MAY 1, 2019

Through a partnership with the Arab Fund for Art and Culture, together with the Magnum Foundation, we launched the Arab Documentary Photography Program (ADPP) in 2014. ADPP supports creative documentary photographers in the Arab region. A jurors’ committee comprised of Arab and international experts will select up to 10 grantees to receive financial and professional support to complete their proposed photography projects.

The focus of the Arab Documentary Photography Programme is to support compelling non-stereotypical and unconventional visual documentation of important social issues and narratives relevant to the Arab region. In recognition to the image’s power to document, educate and advocate, the ADPP will also explore ways by which documentary photography can reach out to wider audiences and engage with them in a compelling and impactful ways. Photographers may propose to work in a range of non-fiction narrative styles, from classic documentary photography to more experimental visual storytelling, and may propose to include audio and video elements.

Objectives

  • To raise the level of creative documentary photography in the Arab region;
  • To train photographers and expand their approaches to visual storytelling;
  • To share strong visual narratives from the Arab region regionally and internationally;
  • To explore wider access to documentary photography and a more active engagement with its audiences

Timeline: Deadline to apply:  1 May 2019.  Announcement of selected grantees: 31 July 2019.

 

more info

Easttopics RESIDENCY PROGRAMME booklet online.

Easttopics has launched its third Residency programme booklet for the 2019 Spring/Summer season, picking and gathering actual calls and programmes dedicated to visual and perfomative arts in the Central and Eastern European region

The booklet is available online here: www.easttopics.com/calls

Easttopics is a non-profit initiative launched in 2013, led by young art professionals based in Hungary and Serbia and dedicated to the promotion of the Eastern European contemporary art field. Working as a think tank for the Eastern European art communities, Easttopics is a genuinely interdisciplinary cooperative which goal is to draw the Eastern contemporary art field and the international art scene closer to each other.

Easttopics aims at mapping and providing more visibility to protagonists of the Eastern European art life, should they be artists, art professionals, institutions, events or publications. It also wishes to act as a dynamic platform fostering connections, exchanges, community building, and cooperation for both practice-based and research-based projects on a local, regional, and international level.

This cross-border project takes form as an expanding online website and database focusing on the following countries: Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Greece, Hungary, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Serbia, Slovakia, Slovenia and Ukraine.

Easttopics is also accepting call, residency and programme announcements for the upcoming 2019-2020 Fall/Winter season.

EASTTOPICS RESIDENCY PROGRAMME BOOKLET

Easttopics

https://www.easttopics.com/calls

Contact

easttopics@gmail.com
Fruzsina Kigyós, Róna Kopeczky, Alexandra Nagy

 

8th Edition of the European Master of Contemporary Photography. Deadline: April 22, 2019

What do Martina Zanin (featured recently in YET Magazine and currently on view at Leporello in Rome) and Sofía Ayarzagoitia (First Prize at the xvii Bienal de la Fotografía, Mexico City, photobook published by La Fábrica, Madrid) have in common?

They both studied at the European Master of Contemporary Photography at IED Madrid. And so did Jorge, Dimitri, Anna, Eoin, Wawi, Joachim, Dahlia, Duarte, Yutaka, Paula, and Alena (only to name a few, and not two of them coming from the same country, by the way).

Their first-hand experience with some of the best artists, editors, curators and scholars in the field of contemporary photography has helped them to develop their own visual language and bring their work to the next level.

Faculty includes Martin Parr, Joan Fontcuberta, Irina ChmyrevaSimon Roberts, Mireia Sallarès, and Andreas Müller-Pohle. Project tutors: Nicolás Combarro and Ricardo Cases, together with course director, Moritz Neumüller. Students come from around the globe, classes are held in English. The next edition of the European Master of Contemporary Photography in Madrid starts April 22nd, 2019.

iedphotography.com