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DOCfield Dummy Award. Deadline: Oct. 29, 2018

EN

Photographic Social Vision Foundation, in collaboration with Banc Sabadell Foundation invite you to participate in the 5th annual edition of its photobook dummy award.
Summit your dummy and win 3.000 € to produce it!

Open call until october 29.

CAT

La Fundació Photographic Social Vision i la Fundació Banc Sabadell obren la convocatòria i us conviden a participar a la 5a edició del premi anual de maquetes de fotollibres DOCfield Dummy Award Fundació Banc Sabadell.

Presenta la teva maqueta i guanya 3.000 € per produir-la!

Convocatòria oberta fins el 29 de octubre

ESP

La Fundación Photographic Social Vision y la Fundación Banco Sabadell abren la convocatoria y os invitan a participar en la 5ª edición del premio anual de maquetas de fotolibros DOCfield Dummy Award Fundación Banco Sabadell.
¡Presenta tu maqueta y gana 3.000 € para producirla!

Convocatoria abierta hasta el 29 de octubre

 

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Festival Films on Architecture. MOVE CINE ARCH. Deadline: March 31, 2018.

MOVE CINE ARCH Festival welcomes films productions focused on architecture, landscape, representation of space, urbanism, planning, cities and environment. The Festival accepts films productions finished on or after 2015. Each author can participate with only one film in their original language with English subtitles when applicable.

A travelling Festival about Films on Architecture. 2018 edition will travel Venice, São Paulo and Paris. A programme built upon partnerships with international cultural institutions and with the desire to better discover architecture and its visual representation. Among out stellar partners European Cultural Center in Venice and Paris College of Art. Films and video productions focused on architecture, landscape, representaiton of space, urbanism, planning, cities and environment are welcome.

The Jury: Federica Andreoni, Jessica Auer, Reinaldo Cardent, Francisco Perrotta-Boscht and Martin Benavidez.

Fees: Single submission 10 € (before February 28th) and regular fee 15 €. Multiple submissions from the same producer 5 €. NO submission fee for academies and schools.

ENTRY FORM

CONTEST RULES

More information: movecinearte.com

WUNDERKAMMER PHOTOGRAPHIC ART. Deadline: March 18, 2018

Galerie Sehnsuchts looks for high quality photographical (lens based) from emerging or well-established talent. Submission to a Galerie Sehnsucht call is open to artists and collectives from around the world. There is no age restriction for artists, but submitters must at least be 18 years of age. Every technique is welcome. Deadline March 18th, 2018The camera is the eye with which we behold the wonders in the world. But it doesn’t only capture reality, it shows our fantasies, dreams and fears just as well. Photography is a tool to catch wonders and keep them in a dark chamber – the Wunderkammer.
Exhibition runs April 11th, until May, 19th, 2018
Guest curator: Roomers Boonstra
Fees: € 15,00 for 1 work (non-refundable), € 20,00 for 2-3 works and € 25,00 for 4-6 works. The fee is to be paid on submission. Entrants are welcome to make one or more submissions.
Submission Form

More information: www.galeriesehnsucht.com/sehnsucht-calls/

Embarrat Award. THE GREAT MACHINE. Deadline: March 19, 2018.

The Embarrat – IEI Award consists of a production of a solo show. The award will distinguish the best artist among those shown in the exhibition The Great Machine V. In 2019 the Institut d’Estudis Ilerdencs (IEI) in Lleida will produce a solo show in its Gótica exhibition venue to showcase the work of the winning artist.

Works must adjust to the proposed subject: “Silence”.
The exhibition: between the 25th of May and the 3th of June 2018 in the Trepat Museum.
The EMBARRAT awards will be anounced on the 26th of May, during the festival.

Submission call: Open to individual artists or collectives. Adults of any nationality. *Residents outside the European Union may participate only with audiovisual works. Artworks of any discipline: video art, performance, photography, audio, installations, illustration, etc.

Jury members: : Cèlia del Diego (Centre d’Art la Panera, director); Alexandra Laudo (curator); Roser Miarnau (Trepat Museum) and Anselm Ros (IEI, curator)

Remuneration for exhibition rights: Each selected artist (or collective) will perceive the amount of € 100 in concept of exhibition rights (taxes included).

 APPLICATION FORM

WEB EMBARRAT.ORG

Want to learn more about the submission process? Visit  TheGreatMachine_ENG

 

Residency Hosts in Madrid wanted. Deadline: Feb. 11, 2018

SWEET HOME
Residencies for artistic investigation in domestic spaces
Open Call until February 11, 2018

Are you an artist, curator or currently working in the cultural field? Do you live in Madrid? Do you have an unused guest room? If so, you may become part of Sweet Home by hosting an international cultural agent during two weeks. Interesting? keep on reading!

hablarenarte: is looking for artists, cultural producers, curators etc. who are living and working in Madrid and have interest in hosting an international cultural agent in their home.

Each local host assists the international guest with the “integration” into the personal, cultural and artistic context of Madrid.

A jury will select the six “hosts” keeping in mind their professional profile and availability. They also consider location of the flat and the living-conditions of the guest room. Each local cultural agent will receive 1.000€ for hosting during the two-week-stay. + info about the Open Call.

Once the six local hosts are chosen, hablarenarte: will launch an international open call in order to select the six international residents. To ensure reciprocal benefit, the six local agents will be part of the jury deciding on the six international agents.

This edition of Sweet Home is supported by the creation grants of Madrid City Council

http://www.hablarenarte.com/convocatorias/convocatoria/sweet-home-2018-convocatoria-local/ 

 

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-

 

European Master of Contemporary Photography Grants, Madrid. Deadline: Dec. 4, 2017.

The 8th edition of this program, which has changed its title from European Master of Fine Art Photography to European Master of Contemporary Photography will start next April. As every year, we are looking for two exceptional students to join the course with a stipend, which covers 50% of the tuition fees (worth 4250 Euros). The stipend is given to exceptional talents, who are willing to lead the group and help the other students grow. We have had some very very talented winners for this grant in the last years, such as Marcio Vilela, Jana Hartmann, Duarte Amaral Netto, Alena Zhanderova, Jorge Fuembuena, Nikita Pigorov, and Yutaka Nozawa. If you know of anybody who might be suitable and interested in this opportunity, please send them the following link to participate:

https://iedphotography.com/events/scholarships-european-master-contemporary-photography-2018/

Go to iedphotography.com to find more information on the European Master of Contemporary Photography, and our other programs.

IED Madrid has been selected repeatedly as one of the best places to study photography, e.g. by Jebiga, Vogue, and Art Photography Schools.

The Master program offers a practical and innovative training where students develop their personal projects, coached by a team of tutors and teachers of international fame: Martin Parr, Joan FontcubertaSimon Roberts or Andreas Müller-Pohle, to name just a few.

—— Español ——

Becas para el Máster Europeo de Fotografía Contemporánea 2018

Deadline: 4/12/2017 – 18:00

¿Quieres abrirte camino en el mundo de la fotografía artística? Fórmate en nuestro programa de referencia: el Máster Europeo de Fotografía Contemporánea, que arranca su octava edición en abril de 2018.

Ofrecemos una formación práctica e innovadora en un máster único. Un programa donde podrás desarrollar tu proyecto personal, que gozará de un seguimiento individualizado por parte de nuestro equipo de tutores y docentes de fama internacional: Martin ParrJoan FontcubertaSimon RobertsAndreas Müller-Pohle, entre otros.

PREMIO

Dos becas que cubren el 50% de la tasa del curso, equivalente a 4.250 euros.

PLAZOS

Fecha límite de recepción de trabajos: 4 de diciembre de 2017 a las 18.00 h, hora de Madrid (GMT+1).
Fecha de la comunicación de los ganadores: 11 de diciembre de 2017 a las 18.00 h, hora de Madrid (GMT +1).

Los ganadores se publicarán en iedphotography.com/es

 

¡PARTICIPA!