Category Archives: Français

How to build antifragility for cultural projects (Repost).

This is a repost of an article from the very useful resources provided by filmmaker and cultural activist Benoît Labourdette . The article is also available in French on his website.


 

What methodology should be adopted to build cultural projects that have the capacity to tame uncertainty and thus become more deeply rooted in their objectives? Methodological proposal, based on the thesis of Nassim Nicholas Taleb, the philosophy of François Jullien and the psychological studies of Olivier Houdé.

Report on the state of the cultural sector post-Covid-19

It would be salutary, a fortiori after the Covid-19 epidemic in 2020 which led to an extremely destructive containment for the cultural professions (among other sectors of society), to question the methodologies in order to envisage being able to make cultural projects more antifragile in the face of uncertainty.

During this period of confinement, there have been many very inspiring cultural innovations, which are still going on: film festivals that have reinvented themselves online, remote theatre projects, collective dance or music via videophony, calls for graphic, photographic, cinematographic creation, etc.

So, is everything all right? Everybody has resisted ? I’m not sure that this is the opinion of a theatre company whose tours for the next two years are being jeopardized by the cancellation of the Festival d’Avignon, the theatres, concert halls and cinemas empty for long months, the artists leading the very many artistic practice workshops cancelled, the authors, publishers and booksellers… The State and local authorities intervened by extending the unemployment insurance for temporary workers in the entertainment industry for one year, by setting up specific aid for the performing arts, cinema, plastic arts, music, museums, publishing, etc… These were indispensable supports, it is the role of the common good. They were probably not sufficient in France, Germany for example having affirmed the centrality of the cultural sector by supporting it to the tune of 50 billion euros after the confinement (in France it is about 100 times less). But what about the causes of what appeared to be an extreme fragility in the face of health contingencies? And the next crisis, unpredictable, will be of a different nature.

I propose, in 6 steps, definitions of concepts that will serve as solid support, in my opinion, for antifragile methodological paths in the cultural sector, i.e. that allow projects to be able to exist and even strengthen themselves in situations of uncertainty or intense stress.

1. Risk prevention: a limiting belief

The first idea that comes to mind is the risk prevention approach: trying to predict everything that can happen, based on past experiences. For example, foreseeing that a new epidemic could occur, and therefore having already prepared distant alternatives for all cultural projects. Just as in a film shooting plan, the unpredictability of the weather is anticipated by a “Plan B” of shooting indoors nearby in case of rain. Or, for an outdoor event, folded barnums are always ready to be deployed in case of bad weather.

This risk prevention, while necessary and very useful, does not protect against the unpredictable. It only prevents the predictable. It is important, but not sufficient. Risk prevention presents itself as reassuring (“We have foreseen everything”), which is false: it is impossible to foresee everything. And it is infinitely rare for the past to repeat itself identically.

The reality is that we live in an uncertain world, in which what will happen and destabilize us is precisely what could not be foreseen. We saw this at our expense during the Covid-19 crisis, which weakened the whole world, hitting the weakest hardest. What we can only admit after 2020 is that the world is uncertain and certainly promises unpredictable surprises! It would be salutary not to forget this lesson.

Let us therefore assume the obvious: it is absolutely impossible to predict everything. But then, how can we prepare for the unpredictable? This is the difference between the risk prevention attitude, which is limited to what it can imagine, and the antifragile attitude, which prepares for the unimaginable, only to come out of it stronger. This thesis may seem very theoretical, not very “realistic”, because how to tame the unknown, the impossible, the unthinkable? However, intuition makes us feel that this would be the best way. But what is it concretely, and how to make a cultural project antifragile?

 

2. Definition of antifragile, by Nassim Nicholas Taleb

The concept of antifragility was formulated by Nassim Nicholas Taleb in his book “Antifragile: Things That Gain from Disorder”, the first edition of which was published in 2013. It was published in French translation in 2018 (Editions Les Belles Lettres).

Nassim Nicholas Taleb, a former trader, is today a writer, statistician and essayist specialising in the epistemology of probability (i.e. the critical study of the subject of probability). He is one of the very few people to have anticipated and warned about the extent of the financial crisis of 2008, for example. His atypical thinking and his critical stance seem to me to be a solid support to nourish reflection in the field of culture. Let’s first discover the concept of antifragility, before moving on to implementation paths, adapted for the cultural field.

Just as the human body grows stronger as it is subjected to stress and effort, just as popular movements grow when they are suppressed, so living things in general develop all the better when they are confronted with factors of disorder, volatility or anything that might disturb them. This faculty to not only take advantage of chaos but to need it in order to become better is the “antifragile”, like the ancient Hydra of Lerna, whose heads multiplied as they were cut off.

Antifragile, Nassim Nicholas Taleb, 2018 (back cover).

Indeed, these words make us dream: who wouldn’t want us to be strengthened by hardship? Who wouldn’t want to be able to put Nietsche’s aphorism “What doesn’t make me die makes me stronger” into practice for their cultural projects? But isn’t that a bit theoretical and utopian? The Hydra is a myth, not reality… On the other hand, concerning the human body, our personal experience validates Nassim Nicholas Taleb’s hypothesis, because we can see that the human body is strengthened when it is subjected to stress, within a certain limit: physical exercise, vaccination, fasting… among other examples.

The point here is not to question the importance of preventing known risks. Of course, we must be prepared for the obvious risks that we know about: supervising children crossing the street, having national stocks of masks, etc. Let’s not confuse antifragility with inconsistency. But we must not give in to the naive belief that risk prevention would protect us from everything. On the contrary, the excess of forecasting and risk prevention, seen as the only horizon in organizational decisions, reassures us, but paradoxically is a factor of great fragility. Why is this? Because we believe we are protected from everything, so we lower our guard on a deeper vigilance, intrinsic to the projects themselves. Thus, in good conscience, excessive prevention can paradoxically weaken projects, perhaps even more than before the widespread practice of risk prevention since the early 2000s. Why is this so? Let Nassim Nicholas Taleb explain it to us very simply:

We have never had as much data as we do today, yet we are more unable than ever to predict. More data — paying attention to the colour of the eyes of the people you meet when you cross the street, for example — can lead to missing the essential — the big truck coming across the street, in this case. When you cross the street, you’re eliminating data, except for data that could be a critical threat. As Paul Valéry wrote: There are many things to ignore in order to act.

Antifragile, Nassim Nicholas Taleb, 2018 (page 372).

Of course we can only agree. But then, what are the relevant facts to remember, and how do you go about taking a antifragile path? What exactly are we talking about? Here is a first, very simple example of antifragility. It is not a model, it allows us to start grasping the concept in terms of concrete action :

A do-it-yourself system and a test-and-error method would have the attributes of antifragility. If one wishes to become an antifragile, one must put oneself in the “fault-loving” situation — to the right of “fault-hating” — by making faults numerous and not very damaging.

Antifragile, Nassim Nicholas Taleb, 2018 (page 34).

Here is a table (page 36) that summarizes this example:

Fragile Rough Robust
I hate mistakes Spiteful mistakes are just information Worship of mistakes (since they’re light)

We are beginning to perceive, I think, that antifragility is about a method of designing projects, a certain approach to work, to development, to construction, to the way we relate to the public. But then, should we only do “do-it-yourself” cultural projects, i.e. without any real artistic project, not very fragile because they are not very ambitious? On the contrary, it is thanks to the highest artistic standards that we will be able to build cultural projects that are antifragile, whether they’re “small” or “big”, as we will now discover.

 

3. Cultural Policy Missions

By the way, what is the framework for the implementation of cultural projects in France? Cultural policies, and therefore funding frameworks, have for mainspring the development of artistic creation, its dissemination and its practices. This is at the heart of the missions of cultural institutions in France, as the french official texts indicate:

Official Missions of the Ministry of Culture :

The mission of the Ministry of Culture is to promote artistic creation in all its components and to enable the democratization and dissemination of cultural works.

The mission of the Ministry of Culture is to make the capital works of France and humanity in the fields of heritage, architecture, plastic arts, performing arts, cinema and communication accessible to the greatest number of people. It promotes the development of artistic works in all their components in the territories and throughout the world. It is the guarantor of artistic education.

Source: website www.gouvernement.fr.

These missions are engaged in two directions: cultural democratization, to make works accessible to the public, and cultural democracy, which consists in fostering artistic practices of audiences. These two facets of cultural policies are complementary, and in my opinion, they always benefit from being combined. There is much debate in the political and financial stakes between these two perspectives, the answer to which lies in what are now called cultural rights. This is a subject in itself, which I do not deal with here, the cultural projects I am talking about are indifferently related to both approaches.

But what exactly is “artistic creation”? The philosopher François Jullien is one of the contemporary thinkers who explore the mysteries and potentialities of artistic creation in the most profound way. Here is an excerpt from his book “Dé-coincidence, où viennent l’art et l’existence” (2017, Editions Grasset):

In what way is art a lesson, no longer just a lesson of life, as so much has been said, to decorate life or because one is sculpting one’s life. Whether one aestheticizes one’s life as much as one wants, the notion of “art of living” is unfortunate: it is compromised with the renunciation of the adventurous inherent in wisdom and withdrawn into convenience. On the other hand, the demand for the dissonance that is proper to art, and which is more radically enlightened by modernity, puts the capacity for ex-existence at work from the outset, inscribing it in the sensible. In the de-coincidence, art and existence discover their common origin, and at first in opposition to “Creation”: discover that the new – the unheard of – is indeed possible, but precisely because it is not naively a beginning. Because it is the result of a disengagement and de-enclosure that keeps us out of the confinement of a world and its adapted adequacy. Or that it is by coming out of the hinges under which the possibilities are sealed, out of joint — possibilities that we did not suspect — that comes an audacity that, in its challenge, can redeploy from the infinite and allows us to finally begin. What each work of art does, in short: that the first morning of the world, then, becomes fleetingly within reach.

Dé-coincidence, où viennent d’art et l’existence ?, François Jullien, 2017 (page 136).

To summarize, François Jullien thus demonstrates that artistic creation is inherently antifragile, because art is by nature always reinventing, reinstating the first time at each of its occurrences. It is a lesson in life. The essence of artistic creation is to be adventurous, unseemly, uncoincidental.

4. Antifragility of a resolutely artistic and innovative approach to culture

Artistic creation is what cultural projects are meant to develop and disseminate, so let’s nourish ourselves on its deep logic of functioning, let’s allow it to express itself fully. Let us not seek to reduce what is the greatest strength of art: the requirement of audacity. Let’s take a risk in the cultural projects themselves, without which we would destroy the meaning of art, which we are here to defend! This audacity is precisely what will help our cultural projects to become antifragile. We can give it its name: innovation.

The approach to building a cultural project must therefore be innovative in order to be antifragile. But how can we identify that we are indeed in an attitude of boldness and innovation, and not in a race to reassure ourselves by trying to anticipate everything? How can we identify criteria to guide us? It is a question of our relationship to “error” and “uncertainty”: Do we seek to avoid uncertainty at all costs, i.e. the risk of error, or do we actively prepare to receive them in order to be enriched by them? Nassim Nicholas Taleb sums it up very well :

Mistakes make some things break, and some things don’t. Some theories fall apart, and some don’t. Innovation is precisely something that benefits from uncertainty; and some people sit back and wait for uncertainty and use it as raw material, just as our hunting ancestors did. …an ethical life is not ethical when it is free of personal risk.

Antifragile, Nassim Nicholas Taleb, 2018 (page 512).

We could synthesize these ideas into one formula:

Innovation is therefore not an empty word, which would mean following fashions, in a form of demagogic and often technophile headlong rush, such as making absolutely “digital” projects or systematically using “social networks” without even really knowing why.

Innovation is an approach, a method, which integrates into the heart of its process openness to the unexpected, and is enriched by it. It is an attitude of openness to what, a priori, destabilizes us and that we would tend to reject out of fear. But beware, innovation is not a simple messy Spanish inn either. An innovative project can be extremely vast and structured, but it must cultivate its agility, which lies in everyone’s attitude towards the unexpected: “it surprises me, it worries me, it destabilizes me, well I’m going to do my best to deal with it and I’m going to try to find out how I can make the most of it!

5. A method: mourning work

It is counterintuitive to accept the unexpected, because the unexpected represents the loss of what was expected. It is necessarily a disappointment at the outset, which we fight against by reflex: denial, anger, guilt, etc. We would like to be enriched by this new situation, as advocated by Nassim Nicholas Taleb, but we have to admit that our brain does not take us in this direction spontaneously, far from it.

To be able to adopt a antifragile approach, whether at an individual level or collectively (within the framework of a project), we must learn to go through the stages of mourning very often. It is usually a rather slow process, because there is little awareness of it. It is a mourning training that must be practiced in order to become more and more able to go through the stages of mourning in an agile manner. The 5 stages of mourning work are :

  1. Shock and denial.
  2. Anger.
  3. Negotiation.
  4. Depression.
  5. Acceptance (or resilience).

It’s important to know that these stages can be quite disorganized, with jumps and flashbacks, which is particularly destabilizing.

antifragility is therefore above all a real work on oneself, dynamic and difficult, because it is to be produced precisely in those moments when one is in great difficulty, when one has lost what one imagined and is caught up in one’s unpredictable reactions in the face of this loss. So, the method is to practice the work of mourning, at high speed. To go faster in mourning, so that, thanks to the resilience that the work of mourning produces, we can consider the opportunities that lie behind the loss.

In fact, antifragility is at the heart of our learning system from childhood. In his book Learning to Resist (2019), educational psychologist Olivier Houdé explains through neuroscience that from childhood and throughout life, learning and reflection are based on cognitive resistance (another way of naming antifragility):

Cognitive resistance is our brain’s ability to inhibit automatisms of thought to allow us to think But it goes far beyond that: this ability is also essential in many situations of everyday life. Indeed, we must learn to resist automatisms of thought when they are oversimplifying and dangerous.

6. A path strewn with constructive pitfalls

Preparing for the unpredictable in order to take advantage of it, in the cultural sector, means adopting, collectively and in the structure of the systems that we put in place, be it planning, technique, organisation in teams, artistic work, communication, etc., an attitude of taking distance, a less reflexive, counter-intuitive time of thinking, in short, a true algorithmic approach, which involves sharing information, combined with autonomy in decision-making.

The method to adopt this attitude, as we have just seen above, is the work of mourning, which seems to be slower to approach, but which allows us to build in reality, and not in the fantasy of what we have lost and what we would like to find again. The challenge is to get back in touch with reality as quickly as possible, which has just changed in an unpredictable and irreversible way.

This brings us to places we hadn’t anticipated. It is destabilizing at first glance, but the cultural projects will only be better, more anchored in reality, and will respond even better to their initial objectives, because they will have been able to adapt to the changing reality.

To develop antifragility in the construction and exploitation of cultural projects is to choose the path that is the least easy, the riskiest, the most agile, the least reassuring, a path of successive innovations. It is the path that will come up against the most pitfalls, but which guarantees that the project will come out of it grown and perennial.

Choosing this type of approach has profound impacts on the forms of artistic projects, working methods, professional training, management attitudes, etc. If this approach is very difficult, it is above all because it implies accepting the loss of a form of power of domination, of mastery. It implies a change in our relationship to the world, which goes against the majority ideas about effective action and organisation. Thus, it often happens that the people who weaken projects the most are the leaders themselves (artists, elected officials, directors, etc.), because they are too afraid to let go of their power. In my opinion, taking these risks is the best guarantee for building ambitious cultural projects that will fully meet their objectives in our uncertain world.

This text is the introduction to the antifragile method for cultural projects. It will be followed by other texts that will develop proposals for the field.

 


Thanks to Robinson Labourdette for discovering the work of Nassim Nicholas Taleb, and to Véronique Guiho-Leroux and Isabelle Altounian for their attentive rereading.

Hyères Festival photography competition. Deadline: Dec. 15, 2019.

The extended deadline to submit to the Hyères Festival photography competition is now: DECEMBER 15, 2019.

The festival takes place in the historical landmark of the villa Noailles in South of France.
There is no genre criteria applying to the competition nor age limit.
The Grand Prize is awarded of a grant of 20 000 euros.

All details feature below and in the link hereafter
https://villanoailles-hyeres.com/pages/candidatures/concours-photographie (FR)
https://villanoailles-hyeres.com/en/pages/candidatures/concours-photographie (ENG)

— ENGLISH VERSION — FRENCH BELOW —-

PHOTOGRAPHY COMPETITION
CALL FOR APPLICATIONS
Registration deadline : November 30, 2019
Download regulation on http://www.villanoailles-hyeres.com
Information : photocompetition@villanoailles-hyeres.com
Every Spring in the South of France, the Festival spotlights young promising artists in the fields of fashion, accessories and photography. The festival proposes diverse exhibitions, professional panel discussions and three competitions. The competitions showcase 10 fashion designers, 10 accessories designers and 10 photographers selected by a jury of professionals in each field. The work of the chosen candidates is presented to the jury and the public in either fashion shows (designers) or group exhibitions (accessories designers, photographers). On the last days of the month of April, as every Spring since 1998, the villa Noailles will once again become the epicenter for emerging photography.
There, in the photography section of the Festival de Hyères, ten artist-photographers will exhibit their personal conjugation of the verb to see. Hyères defends and praises photographic works that strive for sense, singularity, innovation and uncompromising artistic standards. The bodies of work spotlighted at Hyères are still being born. Yet, the articulateness of their aesthetic stances confidently allows us to bet on their projection into the future. Attentively sorted and short-listed, an imposing lot of nearly 800 worldwide submissions is put under the scrutiny and appraisal of an international jury of professionals that gathers, late January, in Paris. The jury’s choice of the ten photographers to showcase sets in motion an exacting curatorial and production process that will culminate shortly in the unveiling to the public, on the walls of the villa Noailles, of an exciting group exhibition: ten new artistic visions that will help shape the photography of tomorrow.
During the three days of the festival, the selected photographers meet to discuss their exhibited work and ongoing portfolios with the members of the jury. Art dealers, museum curators, art critics, art directors for magazines or advertising agencies, among past Festival jurors we can randomly mention Jean-Paul Goude (Paris), Thomas Bonnoouvrier (Art+Commerce, Paris), Jörg Koch (032C, Berlin), Frits Gierstberg (Nederlands Fotomuseum, Rotterdam), Kathy Ryan (New York Times, New York), David Campany (Londres), Joerg Colberg (Conscientious), Charles Fréger (France), Erik Kessels (KesselsKramer, Amsterdam), Brett Rogers (The Photographer’s Gallery, London), Winfried Heininger (Kodoji Press, Switzerland), Jason Evans (photographer), Mutsuko Ota (IMA, Tokyo), Craig McDean (New York), Tim Walker (London), Simon Costin (London), etc.
Agents, art dealers and art directors, all eager to meet new talent, also attend the Festival.
The Hyères meetings between artists and jurors render possible an in-depth discussion — elsewhere highly improbable — about the photographer’s work and its potentialities. An intellectually intense exchange between photographers and key figures of the artistic and commercial spheres, these one to one meetings have often proved fruitful opening for the photographers the doors to different media, from the pages of a magazine to the walls of a museum or an advertising campaign.
 
PARTNERS 2019
The Festival is organised by the Association villa Noailles and has been financed through the support of the City of Hyères, since its creation in 1986, and since 2003 by the Métropole Toulon Provence Méditerranée, with the support of Direction Régionale des Affaires Culturelles (ministère de la Culture), of Conseil Régional Sud Provence-Alpes-Côte d’Azur, of Conseil Départemental du Var.
Major partner
CHANEL
Main partners
LVMH, Première Vision, Chloé, Swarovski, Mercedes-Benz, Fédération de la Haute Couture et de la Mode, DEFI, Les Galeries Lafayette, American Vintage
Year partners
Eyes on Talents, Puntoseta, Fondation d’entreprise Ricard
Partners
Petit bateau, Kering, Premiere Classe, Supima, Givaudan, Exception, Hans Boodt Mannequins, Istituto Marangoni, John Nollet, Psycho, Janvier, Brachfeld
 
 
Présidente / President
Pascale Mussard
Fondateur et directeur général / Founder and General Director
Jean-Pierre Blanc
Directrice artistique / Artistic director
Raphaëlle Stopin

villa Noailles
Centre d’art d’Intérêt national
Métropole Toulon Provence Méditerranée
montée Noailles – 83400 Hyères
+33 (0)4 98 08 01 98 / 97
www.villanoailles-hyeres.com

—— FRENCH VERSION —-

CONCOURS PHOTOGRAPHIE
APPEL À CANDIDATURES
Date limite d’inscription : 30 novembre 2019
Téléchargez le règlement sur http://www.villanoailles-hyeres.com
Renseignements : photocompetition@villanoailles-hyeres.com
Le Festival de Hyères met tout en œuvre pour promouvoir la jeune création dans les domaines de la mode, de l’accessoire et de la photographie. Chaque année, dans le cadre intimiste de la villa Noailles, le festival s’organise autour de trois concours, d’expositions et de tables rondes. Les concours rassemblent dix stylistes, dix créateurs d’accessoires et dix photographes, sélectionnés par des jurys de professionnels. Les créations des candidats sélectionnés sont présentées sous forme de défilés pour le concours mode et d’expositions collectives pour les concours accessoires de mode et photographie.

Chaque printemps, la villa Noailles, à Hyères, devient l’épicentre de la création photographique émergente. Le Festival d’Hyères, dans son volet photographie, expose dix artistes ; dix manières de réinventer le regard. Y sont appréciées – défendues – des œuvres singulières, novatrices à force de choix tranchés, sans compromis. Il s’agit bien d’œuvres en gestation, mais dont les propos construits permettent de parier sur leur projection dans l’avenir. Au terme du processus de sélection, passant par un examen de plusieurs centaines de candidatures venant de tous pays, dix photographes sont choisis par un jury international réuni à Paris au cours du mois de janvier.

À la suite de ces délibérations commence un exigeant travail de commissariat et de production pour dévoiler au public, sur les murs de la villa Noailles, dix visages de la photographie de demain. Pendant quatre jours, les photographes sélectionnés rencontrent, autour de leurs œuvres exposées et de leur portfolio, le jury composé de galeristes, directeurs de musée, critiques d’art, directeurs de création de magazines ou d’agences de publicité.

Citons pêle-mêle parmi les anciens jurys Jean-Paul Goude (Paris), Thomas Bonnouvrier (Art+Commerce, Paris), Jörg Koch (032C, Berlin), Frits Gierstberg (Nederlands Fotomuseum, Rotterdam), Kathy Ryan (New York Times, New York), David Campany (Londres), Joerg Colberg (Conscientious), Charles Fréger (photographe, France), Erik Kessels (KesselsKramer, Amsterdam), Brett Rogers (The Photographer’s Gallery, Londres), Winfried Heininger (Kodoji Press, Suisse), Jason Evans (photographe, Angleterre), Mutsuko Ota (IMA, Tokyo), Craig McDean (New York), Tim Walker (Londres), Simon Costin (Londres), etc.

Au sein du public du Festival circulent aussi des agents, des galeristes, des directeurs artistiques, tous en quête de découvertes.

Ces rencontres rendent possible un dialogue approfondi – fort improbable en dehors d’un tel cadre – autour des œuvres et leurs potentialités. Il s’agit d’un échange intense et fructueux entre les photographes et les décideurs des sphères artistique et commerciale, échange qui souvent, ouvre l’accès à divers supports de diffusion, allant de la page de magazine, au mur du musée ou à la commande publicitaire.

PARTENAIRES 2019
Le Festival est organisé par l’Association villa Noailles et financé depuis sa création en 1986 par la ville d’Hyères, et depuis 2003 par la Métropole Toulon Provence Méditerranée, avec le soutien de la Direction régionale des Affaires culturelles (ministère de la Culture), du Conseil régional Sud Provence-Alpes-Côte d’Azur, du Conseil départemental du Var.

Grand Partenaire
CHANEL

Partenaires principaux
LVMH, Première Vision, Chloé, Swarovski, Mercedes-Benz, Fédération de la Haute Couture et de la Mode, DEFI, Les Galeries Lafayette, American Vintage

Partenaires à l’année
Eyes on Talents, Puntoseta, Fondation d’entreprise Ricard

Partenaires
Petit bateau, Kering, Premiere Classe, Supima,Givaudan
Exception, Hans Boodt Mannequins, Istituto Marangoni, John Nollet, Psycho, Janvier, Brachfeld
Horaires Hiver (octobre à juin)
Ouvert tous les jours de 13h à 18h.
Nocturne le vendredi de 15h à 20h.
Fermé le lundi, le mardi et les jours fériés.
Entrée Libre.

Partenaires du festival (2019) ———————————————————————————————————————

Curators’ meeting. Call for projects. Deadline: Oct. 4, 2019

FRENCH: (English below)

Curators’ meeting
Jeudi 7 novembre 2019
9h30 – 12h30
Rencontres professionnelles de photographie organisées par le ministère de la Culture et le Jeu de Paume, en partenariat avec Paris Photo.

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 et/ou la photographie. Cette rencontre 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, le Jeu de Paume et Paris Photo. Chaque projet d’exposition donnera lieu à une présentation brève (10 minutes) en anglais ou en français par son organisateur.

https://jeudepaume.typeform.com/to/OmlB8n?fbclid=IwAR2s34QKlFsRZsqe2mRGN9UOIpvc9jdwNCl6CZi_zu2RhMRSMipqZNqbMr4

Date limite de dépôt des projets : 4 octobre 2019

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

Si vous avez des questions nous vous remercions d’écrire à curatorsmeeting@jeudepaume.org

__________________________________________________

Professional meetings organized by the French ministry of Culture and the Jeu de Paume, in partnership with Paris Photo.

The “Curators’ meeting” applies to institutions and curators wishing to present to a professional public an innovative exhibition project in connexion with the “image” or photography. This meeting aims at encouraging the production or coproduction of projects. The project can be driven by an institution or a cultural organization, a collective or an independent curator.

A dozen projects will be selected by the French Ministry of Culture, the Jeu de Paume and Paris Photo. Each exhibition project should go along with a brief presentation (approx. 10 minutes) in French ou in English.
APPLY HERE:

https://jeudepaume.typeform.com/to/OmlB8n?fbclid=IwAR2s34QKlFsRZsqe2mRGN9UOIpvc9jdwNCl6CZi_zu2RhMRSMipqZNqbMr4

Deadline for applying: October, 4th, 2019

If you wish to attend the presentation of the projects, please confirm your submission by sending an email to curatorsmeeting@jeudepaume.org

If you have any questions, don’t hesitate to send an email to curatorsmeeting@jeudepaume.org

 

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

Grand Prix Images Vevey and Book Award. Deadline: Feb. 28, 2019

Over CHF 50,000 in creation-support grants and the opportunity to be exhibited at the next Festival Images Vevey in 2020!

Professional artists and photographers, as well as those in training, have until February 28th, to participate to the Grand Prix Images Vevey and the Images Vevey Book Award 2019/2020.

The Grand Prix Images Vevey is a creation-support grant for photography projects. The award, worth some CHF 40,000 (approx. EUR 35,000), enables one artist to develop an original project over a year that will be presented at the next Festival Images Vevey 2020. The grant represents unique support for contemporary creation, with complete freedom of choice over subject and genre

The Images Vevey Book Award is a grant worth CHF 10,000 (approx. EUR 9,000) that supports the creation of a book project which showcases an optimal and original balance between publication format and photographic content. It provides a financial contribution that aims to encourage artists to take risks and to innovate, in order for them to develop a suitable and sophisticated publication format for their photography project.

———-–>FRANÇAIS<———-

Plus de 50’000 CHF de bourses d’aide à la création et la possibilité d’exposer au prochain Festival Images Vevey en 2020!

Artistes et photographes professionels ou en formation ont jusqu’au 28 février pour participer au Grand Prix Images Vevey et au Prix du Livre Images Vevey 2019/2020.

Grand Prix Images Vevey Jury

L’artiste indienne de renommée internationale Dayanita Singh présidera le jury du Grand Prix Images Vevey 2019/2020, composé d’Emma Bowkett, directrice de la photographie, Financial Times FT Weekend Magazine; de Lesley A. Martin, directrice artistique, Fondation Aperture; de Christoph Wiesner, directeur artistique, Paris Photo et de Francesco Zanot, commissaire d’exposition indépendant.

Ce jury de professionnels de l’image se réunira à Vevey du 3 au 5 mai 2019 pour examiner les projets soumis dans le cadre du Grand Prix Images Vevey et du Prix du Livre Images Vevey.

Grand Prix Images Vevey

Le Grand Prix Images Vevey est une bourse d’aide à la création photographique. Ce prix de quelques CHF 40’000 (env. € 35’000) permet à un artiste de développer un projet inédit en un an pour ensuite le présenter au Festival Images Vevey 2020. Ce concours représente un soutien unique à la création contemporaine avec une liberté de choix du sujet comme du genre.

Images Vevey Book Award

Le Prix du Livre Images Vevey est un soutien de CHF 10’000.- (env. € 9’000) à un projet éditorial proposant une adéquation optimale et surprenante entre la forme de la publication et le contenu photographique. Il vise à apporter un complément financier incitant l’artiste à prendre des risques et à innover afin de donner à son projet photographique la forme éditoriale la plus aboutie et la plus adéquate possible.

Residency at School of Visual Arts, France. Deadline: Mar. 29, 2019

CALL FOR APPLICATIONS

Every year since 2011, BMW Art & Culture has given an artist the opportunity to produce a photography project in a three-month residency. The project is undertaken at the GOBELINS School of Visual Arts, which has been involved in the Residency for the past two years, following a six-year partnership with the Nicéphore Niépce Museum.
The BMW Residency results in the production of works created with the support of the artistic director, François Cheval and GOBELINS staff. A selection of works produced during the Residency will be exhibited at two major photography events for which BMW is a partner – the 2020 Rencontres d’Arles (between the opening week in July and the end of August) and 2020 Paris Photo fair.
Works produced during the BMW Residency will be presented in a book included published by éditions Trocadéro, in the BMW Art & Culture collection.
The BMW Residency will take place between September and December 2019.

Call and Regulations

 


 

Paris – BMW Art & Culture permet, chaque année depuis 2011, à un artiste photographe de réaliser un projet photographique au cours d’un séjour de trois mois de résidence. Le projet est réalisé à GOBELINS, l’école de l’image, partenaire depuis deux ans, après six ans de partenariat avec le musée Nicéphore Niépce.

La Résidence BMW aboutit à la production d’œuvres réalisées avec le soutien de François Cheval, directeur artistique et de l’équipe de GOBELINS. Une sélection des œuvres produites en résidence sera exposée dans deux évènements photographiques majeurs dont BMW est partenaire : aux Rencontres d’Arles*, de la semaine d’ouverture en juillet à fin août 2020 et à Paris Photo* 2020.

 

Prix Mentor Outre-Atlantique

——->English (automatic translation, scroll down for Original text en Français)<——–

FreeLens, in association with SCAM and CFPJ Medias de Paris and Zoom Photo Festival Saguenay, is pleased to announce the very first session of the Prix Mentor Outre-Atlantique!

Session #1 of the 2019 Mentor Award will take place on Saturday, October 20, 2018, Salle Murdock in Chicoutimi, starting at 2:30 p.m., as part of the Zoom Photo Festival Saguenay.

To apply, simply read the rules, join the FreeLens association and send your application by clicking on the following link:

http://www.freelens.fr/appel-a-candidatures-prix-mentor-2019-session-1-canada-octobre-2018/

(Forms in French)

Attention, the deadline for this call for authors is Friday, October 5 at midnight (Montreal time)!

——>français<——-

FreeLens, en association avec la SCAM et le CFPJ Medias de Paris et le Zoom Photo Festival Saguenay, est heureuse de vous annoncer la toute première session du Prix Mentor Outre-Atlantique !

La session #1 du Prix Mentor 2019 aura lieu le samedi 20 octobre 2018, salle Murdock à Chicoutimi, à partir de 14h30, dans le cadre du Zoom Photo Festival Saguenay.

Pour candidater, il vous suffit de prendre connaissance du règlement, adhérer à l’association FreeLens et d’envoyer votre dossier en cliquant sur le lien suivant :
http://www.freelens.fr/appel-a-candidatures-prix-mentor-2019-session-1-canada-octobre-2018/

Attention, la deadline pour cet appel à auteurs est le vendredi 5 octobre à minuit (heure de Montréal) !

Festival for young European photography. Deadline: Sept. 30, 2018

Circulation(s), festival of young European photography will be held for its 9th edition at CENTQUATRE-PARIS from 13th April 2019.

The collective THE RED EYE (Audrey Hoareau and François Cheval) is named at the artistic direction of the Circulation(s) festival 2019.

The call for application of the Circulation(s) festival is extended until Septembre 30th, midnight (Paris time).

 

https://www.festival-circulations.com/reservation/call-for-applications-2019/

 

 

 

Prix Elysée supporting artistic production in the field of photography. Deadline: March 4, 2018

Now in its third edition (2018-2020), the Prix Elysée is a prize supporting artistic production in the field of photography. It offers financial help and curatorial guidance to artists with a passion for photography and books, so they can take a decisive step in their career. Eight nominees selected by the museum will receive a contribution of CHF 5,000 towards the initial presentation of a new project in the nominees’ book published for the occasion. The winner, chosen by an international jury, will receive CHF 80,000 to produce the project and publish a book.

Dans sa troisième édition (2018-2020), le Prix Elysée est un prix de soutien à la production dans le domaine de la photographie. Il offre une aide financière et un accompagnement muséal à des artistes passionnés par la photographie et le livre, afin qu’ils puissent franchir une étape décisive dans leur carrière. Huit nominés sélectionnés par le musée reçoivent une contribution de 5’000 CHF en vue d’une première présentation d’un projet inédit dans le livre des nominés, publié pour l’occasion. Le lauréat, choisi par un jury international, reçoit 80’000 CHF pour réaliser son projet et publier un livre.

In other words:
• Photographers are in charge: you apply directly (no nominators) and there’s no imposed theme, genre, or technique.
• Nominees matter: they get as much time and exposure as the winner.
• We mean business: in total, the prize is worth CHF120,000.
• Your work gets published: both the nominees and the winner produce a book.
• We’re a museum: we keep good work in mind for other projects!
For more information on how to apply, check out the prize website.

Call for applications is open January 1 – March 4, 2018.

En d’autres termes :
• Les photographes sont aux commandes : vous postulez directement (votre candidature n’est pas proposée par quelqu’un) et il n’y a pas de thème imposé, de genre ou de technique préférés.
• Les nominés comptent : nous leur donnons autant de temps et de visibilité qu’au gagnant.
• Nous sommes ambitieux : au total, le prix vaut 120’000 CHF.
• Votre travail est publié : les nominés et le lauréat produisent un livre.
• Nous sommes un musée : nous gardons à l’esprit un bon travail pour d’autres projets !
Pour plus d’informations sur la façon de postuler, consultez le site web du prix.
 
L’appel à candidatures est ouvert du 1er janvier au 4 mars 2018.

 

http://prixelysee.ch/en/applications/

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

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

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

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


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

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

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

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