Tag Archives: Art

AFTER POST-PHOTOGRAPHY 5 Conference, 23-25 May 2019, St. Petersburg

Conference APP. Cultural, historical and visual studies in photography

23-25 May 2019,
European University in St Petersburg

Addressing one of the most common concepts that define the nature and function of photography, the fifth edition of the conference After Post-Photography  aims to re-think the fundamental notions and offer new perspectives on the subject of photography and its connection with memory.

Memory is a notion commonly brought forward when speaking about photography. The very idea of close connection between memory and photography has long found itself at the basis of the (re)construction of histories and identities.

The photographic image, when regarded as a material evocation of memories, is supposed to not only preserve the past, but to represent a selection of moments worthy of being captured and retained. In this sense, photography has caused fundamental changes to mental structures, such as remembrance and forgetting. Its mechanics, however, is still indecisive: is photography something that evokes memory – or something that enhances oblivion? Furthermore, is a photograph something that really speaks of a moment of the past, or does it rather testify of certain modes of cultural optics? Is there still a possibility to ‘remember’ with, or through photographs? After all, the traditional belief in photography’s truthfulness, its indexical function, the freezing of a decisive moment, or proof of “what has been”, all this stands in strong contrast with the contemporary discussions on fake news, artificially constructed memories, post-reality politics and “augmented” realities.

The conference is chaired by Maria Gourieva, Olga Davydova, Natalia Mazur, Moritz Neumüller, Daria Panaiotti, and Friedrich Tietjen. It is organized in collaboration with the conference “PHOTOGRAPHY AS ART. Current trends in study and the history of national schools”, at the Russian Academy of Arts, Moscow, May 27-29, 2019.

This three-day event will feature four keynote speeches, eight presentations, and a round table, by scholars from Russia, Europe, the United States and Japan.   

Day 1 will feature two evening lectures, one by Fred Ritchin on The Post-Photographic Challenge, the other by Helen Petrovsky on Photography: Memory Formulae.

Day 2 will start with a morning panel dedicated to Photograph Politics, or: How to Show (and how to not). The afternoon will feature the panel Present Photography, or: How to Rethink Pictures. A get-together dinner will be the perfect setting to keep the discussions going on into the later hours.

Day 3 will be dedicated to the panel Photographic Projections, or: How to Show What Never Happened, and a round table discussion on Photography Studies in Russia, before we wrap up the conference in a general Q&A session.

All talks will take place at the European University in St. Petersburg, 1 Shpalernaya street / metro Chernyshevskaya

Talks and presentations will be held both in English and Russian. Simultaneous translation will be provided.  

Timetable

23 May 2019

16.30 Registration for speakers

17.00 Keynote: Fred Ritchin (ICP, USA): The Post-Photographic Challenge

18.30 Keynote: Helen Petrovsky (Russ. Acad. of Sciences, Russia): Photography: Memory Formulae

24 May 2019

10.15 Registration for speakers

10.45 Welcome

Panel 1: Photograph Politics, or: How to Show (and how to not).

11.00 Carole Naggar France/USA): A Closet, a Suitcase and a Warehouse: David «Chim» Seymour’s Archives

11.30 Susumu Shimonishi (Tokyo University of the Arts): Japanese Photography Magazines. The Case of CAMERA MAINICHI

12.00 Coffee break

12.30 Denis Skopin (St. Petersburg State Univ.): Elimination of the Enemies of the People from Group Photographs in Stalin’s Russia: Political and Psychological Aspects

13.00 Discussion

13.30 Lunch break

Panel 2: Present Photography, or: How to Rethink Pictures

14.30 Irina Chmyreva (Research Centre for Theory and History of Arts, Russian Academy of Fine Arts): Echo of Political Realities in Photography: Studies of Reading National History in Art Photography Projects from 1990-2010s

15.00 Michelle Bogre (Parsons School of Design, USA): The Photograph Unmoored: Truth and Authenticity in the 21st Century

15.30 Alexander Streitberger (Univ. catholique Louvain, Belgium): The Photographic Ruins of the Future

16.00 Discussion

16:30 Coffee break

17.00 Keynote: Andrés Mario Zervigón (Rutgers University, USA): The Camera Lens: Fully Visible and Transparent

18.30 Keynote: Gil Pasternak (Photographic History Research Centre, De Montfort University, UK): Photography in Politics: Remembering and Being Together, With Photographs

25 May 2019

Panel 3: Photographic Projections, or: How to Show What Never Happened

10.30 Oksana Sarkisova (Central European University, Hungary): Imagining Soviet Space: Representations of Travel in Vernacular Photographic Collections

11.00 Maria Gourieva (European University/St. Petersburg State University), Friedrich Tietjen (Germany/Austria): Everybody Lives the Same (in private photographs)

11.30 Discussion

12.00 Coffee break

12.30 Keynote: Galina Orlova (Higher School of Economics, Russia): Anonymous Archive, Digitalization, Recycling

14.00 Lunch break

15.00 Roundtable discussion for educators and researchers: Photography Studies in Russia: Challenges and Perspectives

17.00 Final remarks and outlook

 

The Conference takes place at the European University, 1 Shpalernaya street, St. Petersburg. Nearest metro station: Chernyshevskaya.

Any changes to this timetable will be announced on the website www.after-post.photography and the telegram channel afterpostphotographytelegram.   

 

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

EMBARRAT – Festival. Deadline: Mar. 10, 2019

OPEN CALL

The modernist buildings that house the Trepat Museum in Tàrrega, origin of the social and industrial transformation of the lands of Lleida, will be the venue of the third iteration of EMBARRAT – Festival of Contemporary Creation. The main objectives of this event are to disseminate throughout society the concept of art and thought as critical and engaged attitudes, and to incentivize artistic creation and promote cultural heritage.

ENTRY REQUIREMENTS

The call is open to individual artists or artist groups.
All participants must be adults, but may be of any nationality.
Residents outside the European Union may participate only with audiovisual works.

The works must touch on the proposed theme: “The progress”.
Submissions can consist in artworks of any discipline: video art, performance, photography, audio, installations, illustration, etc.
Participants may submit one work, or a set of works under a single title.

It is the curator’s responsibility to make the final selection of projects and artists and to determine the appropriate exhibition space for each artwork.
In addition to the artistic criteria, the curator will consider the conceptual rigor of each project, its adjustability to the proposed topic (disused) and the feasibility of adapting the artistic proposal to Museu Trepat’s exhibiting spaces.
The artists will assume the cost of the work production.
The festival will assume shipping costs.

DATES

Deadline: March 10th, 2019

Date: From May 24th to 28th, 2019

Cost: free

Age limit: none

more info

DOCTORAL STUDIES at Anton Bruckner University

CALL FOR APPLICATIONS

In 2018/19 the Anton Bruckner Private University (ABPU) in Linz Austria has launched two doctoral programmes: an artistic doctoral programme and an academic doctoral programme. We currently invite applications for both programmes.

Doctoral candidates at ABPU will receive supervision from leading international experts active in their fields, and have access to dance studios, the computer-music laboratory Sonic Lab, a modern recording studio, and concert halls for the most diverse requirements. They will profit from the lively artistic and research environment of the university in the central-European city of Linz with its four universities and the Ars Electronica Centre.

From the outset and continuing throughout the programme of study, our doctoral candidates will be offered a broad professional network through our cooperation with three renowned Austrian universities for co-supervision: the Paris Lodron University, Salzburg; the University of Art and Design, Linz; and the University for Music and the Performing Arts, Vienna.

 

Normal period of study: 6 semesters

Application deadline: March 8th, 2019.

CONTACT: barbara.lueneburg@bruckneruni.at

 

More Infos

 

MARGARET CAMERON AWARD. DEADLINE: FEBRUARY 27, 2019

RULES OF ENTRY

The Gala Awards, with the sponsorship of the Biennial of Fine Art & Documentary Photography invites women photographers worldwide to submit images to 13th Edition of The Julia Margaret Cameron Award.

This Award is open to women photographers, professional and amateur, working in all mediums, styles and schools of thought. Traditional, contemporary, avant-garde, creative and experimental works that include old and new processes, mixed techniques, and challenging personal, emotional or political statements will be welcome.

DATES

Early Bird Deadline (20% off on entry fees): January 30, 2019 at 11:59pm PST (Los Angeles Time)
Apply the coupon 20OFFJAN30 when checking in the registration form to get the 20% discount

Finale Deadline: February 27, 2019 at 11:59pm PST

Jurors’ announcement: 45-60 days after the final deadline.

AWARDS AND EXHIBITION SELECTION

The Jurors of the 13th Julia Margaret Cameron Award will select one Winner in the Professional Section and One Winner in the Non-Professional Section.

The Gala Awards will organize a solo exhibition for each overall Winner in the respective sections (Pro and Non Pro) taking care of all exhibition expenses, including printing and framing of up to 20 photographs each. The exhibition will be held in the Valid Foto Gallery in Barcelona on October 2019. The organization will have the right to change the venue and date in case of unforeseen circumstances. A curator designed by The Gala Award will assist the Winners in the selection of the work to be exhibited and will take care of the exhibition setup.

The two overall winners in the Pro and Non Pro sections will receive -on top of the fully-paid solo exhibition- US$1,500 each to cover travel and lodging expenses to attend the opening reception.

Collective exhibition of category winners and category honorable mentions. The Jurors will also select, in both Pro and Non-Pro Sections, runners up and honorable mentions, as well as a short list of finalists. All these selected photographers will be invited to exhibit (with the category winners) in a collective exhibition in a space contiguous to the solo exhibition of the two the overall winners. In the collective exhibition, the exhibition organization and venue costs will be borne by The Gala Awards, while the exhibitors will be charged for printing and framing as well as setup costs (hanging, labelling, and insurance) in the amount of $250, approximately, per piece. To participate in the exhibition artists will have to be able to submit high resolution files of 300dpi suitable for fine art printing.

Images of all awardees (Winners, Runner Ups, Honorable Mentions, and Finalists) will be exhibited online in The Gala Awards’ website during a minimum of two years.

All winners and honorable mentions will receive certificates of award.

 

Call and Regulations