Tag Archives: Contemporary Art

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

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The Curatorial School Workshops, Malta. Deadline: June 30, 2017

This seems like an interesting program … even if the teaser image only shows utterly bored people (the lady in the background just fell asleep, didn’t she?)   😉

Anyways: There are student discounts and volunteering opportunities. So have a look!

The Valletta 2018 Curatorial School (28th August-1st September 2017) is a one-week intensive lecture programme hosted in the heart of Valletta, Malta, with leading curators from major international arts institutions. The theme for this year’s Curatorial School is Researching Curatorial Practices. By bringing together international and local perspectives, this year’s programme asks: What kinds of research do curators of contemporary art engage in?

The Curatorial School’s programme will explore a variety of topics that are highly relevant to practitioners and students today, including curating as research and curatorial research methods, curating the unfamiliar, the research involved in developing concepts, the temporalities of display, and the potentials and limitations of exhibition-making.

The Curatorial School offers participants the opportunity to further their curatorial career development through insightful lectures and professional networking opportunities. Participants may respond to tasks put forward by guest curators and receive extensive feedback on aspects of curating, researching, producing and presenting new ideas. Workshop themes include, “Curatorial Start Kit for Research the Art and Democracy Question,” “Modes of Curating / Curating as Research,” “Curating the Place and the Social” Art as Production of Public Domain,” and “Showtime: Exhibition Temporalities and Curating as a Mode of Political Enquiry and Critical Practice.”

International guest speakers and workshop facilitators include Alfredo Cramerotti (MOSTYN Gallery, 57th Venice Biennale, Manifesta 8), Bassam El Baroni (Manifesta 8, HOME WORKS 7), Fulya Erdemci (54th Istanbul Biennial, 54th Venice Biennale, 2nd Moscow Contemporary Art Biennale, 25th Biennale São Paulo), Maren Richter (REGIONALE12 Biennal, MOCA Taipei), Mick Wilson (Moscow Curatorial School, 9th Taipei Biennal, PARSE journal) and Sebastian Cichocki (Museum of Modern Art in Warsaw, 52nd and 54th Venice Biennales).

To register: https://goo.gl/forms/s5OCQJwJEPhBM5am1

The fee to attend the Curatorial School is €110. We are pleased to offer a discounted student rate of €60 for students currently enrolled in studies.

A limited number of applicants will be accepted as event volunteers, for whom attendance fees will also be waived.

 

Registrations are open until the 30th of June 2017.

Bemis Center for Contemporary Arts. Open Call for Curator in Residence. Deadline: Aug. 29, 2016

Curator in Residence Program in Nebraska, 2017

Now celebrating its 35-Year Anniversary, the Bemis Center is thrilled to launch the first Curator-in-Residence Program in the state of Nebraska, infusing Omaha with thought leaders in contemporary curatorial practice to engage the local arts community. Competitive applicants will possess a strong knowledge of international contemporary art and a genuine interest in researching and responding to cultural production in Omaha and the region. The Curator-in-Residence is part of the cultural fabric of the city, serving as a professional resource for local artists and arts professionals, and as an ambassador of the Bemis in the community. S/he will be an integral member of the Bemis’s Artist-in-Residence Program, sustaining an intellectual discourse surrounding contemporary art practice through studio visits, knowledge-sharing workshops, and other organized programs with fellow residents.

The Bemis Center for Contemporary Arts is now accepting applications from national and international curators for its inaugural Curator-in-Residence Program. Starting in January 2017, the successful candidate will participate in a one-year fully subsidized live/work residency as part of the Bemis Center’s acclaimed Artist-in-Residence Program. S/he will originate and present three exhibitions and related public programs inclusive of local and national artists. The Curator-in-Residence will work alongside residency and curatorial staff, and actively contribute to the overall vision of the Bemis’s renowned exhibition program. Reporting to the Curator of Exhibitions and Public Programs and the Artistic Director for Residency Programs, the Curator-in-Residence is a full-time temporary position. S/he will be involved in all curatorial and administrative aspects of organizing three exhibitions over a 12-month residency. The 2017 exhibition seasons are scheduled for February 2–April 29, June 1–August 26, and November 9–January 27. Exhibitions will be original, conceptually rigorous, and exemplify the true breadth and experimentation currently defining contemporary art. Duties include, but are not limited to, research, artist and donor relations, exhibition design and installation, writing/editing of scholarly texts and didactics, budgeting, conceptualizing and leading public programs, and exhibition tours. The Curator-in-Residence studio is for single occupancy only; Bemis is unable to accommodate partners, children, and pets at this time.

There are no fees to apply.

ELIGIBILITY

  • Residency opportunities are open to national and international arts professionals 21+ years of age, showing a strong professional working history.
  • Bemis Alumni are allowed to re-apply for residency after a three year hiatus from the program. Alumni seeking residency must submit a complete application including recent work samples and current resume. Preference may be given to applicants who have not previously attended.
  • Students enrolled in an academic program during the time of requested residency are not eligible to apply.
  • Bemis welcomes internationally based arts professionals to apply. A working knowledge of English is helpful for international artists as an interpreter will not be provided.
  • Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. For special needs or questions about accessibility, please contact the Residency Program Manager.

QUALIFICATIONS

  • Master’s degree in curatorial or museum studies, art history, or related field; or 5 years equivalent professional work experience in the field;
  • A minimum of 1-2 years curatorial experience in an academic, non-profit, and/or commercial gallery setting;
  • Strong knowledge of international contemporary art and a keen interest in understanding and working with Omaha’s cultural landscape are required;
  • Excellent verbal and written communications skills are essential;
  • Creative and strategic thinker with the capacity to take initiative and to work independently and as a team player in a fun, yet demanding arts organization;
  • It is understood the ideal candidate will understand and promote the Bemis Center’s mission and, as an ambassador of the organization, perform all Bemis-related duties in a professional, responsible manner.

FEES & BENEFITS

Submission of applications are only accepted online through www.slideroom.com.

There is no fee to apply.

The selected Curator-in-Residence will receive:

  • Monthly honorarium: $2,500
  • Relocation allowance: $2000*
  • Ground transportation allowance: $300/month
  • Travel/research budget: $3,000
  • Free lodging in a sizable, well-appointed live/work studio with private bath and kitchen and complimentary utilities, laundry, and Wi-Fi
  • Administrative staff support
  • Dedicated gallery; approximately 2000 square feet; 12.6 foot ceilings; concrete floors

*Curator-in-Residence will organize own travel to Omaha for residency.

Application Review Process

SlideRoom will confirm receipt of your submitted application. Residency applications are reviewed each cycle by a rotating panel represented by arts professionals such as artists, curators, academics, and/or critics. The review process will take 6-8 weeks from the application deadline. Notifications to all applicants will be sent via email after the selection panel has made its final decision.

The final date for submissions is the 29th of August, 2016.

To Apply: https://bemis.slideroom.com/#/login/program/31340

More information about the Bemis Center of Contemporary Arts: http://www.bemiscenter.org/

 

Awards for Art Criticism. Deadline: October 15, 2015

The second annual international Awards for Art Criticism are open to candidates of any age from anywhere in the world, writing in Chinese or English about any contemporary art exhibition held between 20 September 2014 and 20 September 2015.

The International Awards of Art Criticism (IAAC) will be hosted by an International Board, adjudicated by and international jury and organised by the Shanghai 21st Century Minsheng Art Museum (M21), in partnership with the Royal College of Art, London. The principal sponsor is the China Minsheng Banking Corporation Ltd (CMBC). The International Awards for Art Criticism aim to support independent critical coverage of contemporary art, away from the immediate pressures of the market, media and private patronage.they seek to stimulate good writing, critical thinking, dialogue and research, initially in the Chinese and English languages.

The objectivity of the selection process is underpinned, both by the recognised professionalism of the Chinese and English-speaking jury members and by the strict anonymity of the judging process. The Awards will be hosted by an International Board adjudicated by international jury members, including Dr.Marek Bartelik , Catherine David, Dieter von Graffenried , Li Pi and Lee Yongwoo .

The First Prize will consist of a cash award of 6,000 euro and a short-term residency in Shanghai. The two Second Prizes – one each, for an essay in Chinese or English – will each consist of a cash award of 2,000 euro.

Find more information about application and selection here.

Last chance to present curatorial project for Fabra i Coats, Barcelona. Deadline: May 22, 2014

———-English Version (versión en español / catalá abajo)———-

Call for programming proposals for the 2014-2015 season at Fabra i Coats – Barcelona Contemporary Art Center

Introduction

The Barcelona Contemporary Art Centre is a cultural facility that aims to produce, disseminate and exhibit contemporary art projects from local and international artists. Its sphere of work is the visual arts and it is primarily focused on the transitional space between the circuits of emerging art and firmly established and recognized artistic careers.
The centre began operating in September 2012 in the old Fabra i Coats factory in the district of Sant Andreu, and it shares space with the Art Factory and uses the common services (auditorium, socialization spaces, offices and so on). In the first phase the centre occupies a space of 450 m2 plus 150 m2 located at the entrance to the complex. Common services will be shared with the Art Factory.
The centre was created with the intention of expanding as needs and available funds allow for the restoration and adaptation of the upper floors of the building to be continued. A second phase will thus be completed in 2015, reaching 1,800 m2 to subsequently grow to a maximum of 2,450 m2 of exhibition and activity space.
Since the 2013-2014 season, programs of curatorial projects selected through a public call have been programmed.
For programming the period from September 2014 to August 2015, ICUB has launched the following open call for the submission of projects.

Participants
All persons interested in developing a curatorial project, whether individually or as part of a group, may participate in the call.

Object of the call
The aim of the call is to select a programming proposal for the Barcelona Contemporary Art Centre. This programming must have provisions for the full period from September 2014 to August 2015.
The project must provide:
– A minimum of three exhibitions

– Activities plan

– Publications plan

– Educational project

Funding
The resources allocated to this call will be divided into two separate allotments; 25,000 euros (VAT and other taxes included) in professional fees for the winning person or team and 175,000 euros (VAT and other taxes included) for developing the activities proposed in the project.
This amount includes the fees for participating artists as well as all expenses associated with production, exhibition and any other costs that may arise from the projects proposed. Not included, however, are the costs of security, cleaning and maintenance of the space, hall security and customer service and the other day-to-day operating costs of the centre, which will be covered by other budgetary allocations.
The ICUB promises to spend a maximum of 75,000 euros (VAT and other taxes included) in 2014, taking charge of forecasting revenues and expenses for 2014, and 100,000 euros (VAT and other taxes included), taking charge of forecasting revenues and expenses for 2015, to meet the costs of production, set-up and associated activities.

Selection
A committee will evaluate the projects submitted.
Making up the artistic evaluation committee are:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs
The projects will be evaluated based on:
– The proposal’s quality and suitability for the art centre’s objectives
– Potential for traveling and/or coproduction with other Catalan and international centres
– Balance between local and international artists
– Exhibition program
– Publications plan
– Activities plan
– Educational program
– Web project (this project should be based on the centre’s current website)
– Budgetary viability in terms of the parameters established in this call

Applications
Those interested must submit a dossier containing:
Information about the person or persons participating:
Name and last name(s)
National Identity Document
Date of birth
Address
Telephone numbers
Email address
Brief expository CV (maximum 3,000 characters with spaces)
Synthetic summary of the conceptual framework of the proposal (maximum 8,000 characters with spaces).
Schematic explanation of the project (maximum 8,000 characters with spaces). This explanation must include the list of exhibitions to be held, the participating artists, the publications plan, the use of the web space, the educational program, the activities plan and any other aspect deemed relevant.
Detailed production budget, itemized.
Implementation schedule.
Additional documentation deemed appropriate.
The panel of judges will not consider applications that do not meet these requirements. The committee may hold interviews with project authors should it be considered necessary.

Time limits
Participants must submit the dossiers within a period of one month from the day following the final day of the period allowed for allegations to the General Register of the Institute of Culture of Barcelona (ICUB), La Rambla 99, 4th floor.

Rights and obligations of participants
Participants promise to comply with everything that is agreed upon with ICUB management, especially as regards deadlines for programming activities and budget allocations. All projects must consider the contractual conditions with participating artists such that copyright is protected in accordance with current legislation.
Residents of Spain must provide:
1.1. Tax Clearance Certificate affirming they are not indebted to the administration.
1.2. Current Social Security Certificate affirming that all payments are up-to-date and there are no outstanding debts.
People living outside of Spain for tax purposes must provide:
– Tax residence certificate issued by the tax authorities of the corresponding country.

The submission of applications implies acceptance of the conditions outlined in this document.

Appendix
Strategic objectives of the Barcelona Contemporary Art Centre
The implementation of all of the activities carried out by the Barcelona Contemporary Art Centre must guarantee the following public service obligations, which are considered strategic objectives of the centre:
– To become an art centre dedicated primarily to potentiating the transitional space between the circuits of emerging art and firmly established and recognized artistic careers, establishing a fluid dialogue between different generations.
– To build its activities around risk and experimentation, offering great freedom for discussions on art through quality. To foster the multidisciplinarity of artistic languages and excellence of content.
– To encourage interaction between different social agents and in particular between events driving culture and other economic sectors of the city.
– To facilitate the creation of new audiences and bolster the centre’s relationships with its immediate environment, with educational centres and organizations likely to take part in training activities.
– To help to strengthen and structure quality cultural initiatives reflecting the criteria of coparticipation, coproduction and cofinancing.
– As a specialized operator, to strengthen connections and networking with other local and international agents, institutions and facilities, especially the facilities that form part of the Xarxa Pública de Centres i Espais d’Arts Visuals de Catalunya (Public Network of Visual Arts Centres and Spaces of Catalonia), and with the city’s art galleries and Art Factories.
– To base the centre’s projects and activities on parameters of quality, effectiveness, efficiency and transparency in management.
– To make maximal use of information and communication technologies and social networks to expand potential audiences and interact with them.
– To establish a process for developing projects that enables the centre’s harmonious growth to the desired dimensions in a sustainable way.

Download the call on pdf format

 


———-versión en español (English Version above)———-

Convocatoria para la programación de la temporada 2014-2015 de Fabra i Coats – Centre d’Art Contemporani de Barcelona

Introducción

El Centre d’Art Contemporani de Barcelona es un equipamiento cultural que tiene como objetivo la producción, difusión y exhibición de proyectos artísticos contemporáneos de creadores del contexto local e internacional. Su ámbito de trabajo son las artes visuales y se centra principalmente en el espacio de transición entre los circuitos del arte emergente y las trayectorias artísticas plenamente consolidadas y reconocidas.
El centro empezó su actividad en septiembre de 2012 en el espacio de la antigua fábrica Fabra i Coats, en el barrio de Sant Andreu. El centro comparte espacio con la Fábrica de Creación y utiliza los servicios comunes (auditorio, espacios de socialización, oficinas…). En la primera fase el centro ocupa un espacio de 450 m2 más 150 m2 situados en la entrada del complejo. Los servicios comunes se compartirán con la Fábrica de Creación.
El centro nació con la voluntad de expandirse a medida que las necesidades y la disponibilidad presupuestaria permitan continuar la restauración y adecuación de las plantas superiores del mismo edificio. Así, en el año 2015 se completará una segunda fase en la que se alcanzarán los 1.800 m2 para llegar, posteriormente, a un máximo de 2.450 m2 de espacio expositivo y actividad.
Desde la temporada 2013-2014 se programa por ciclos de proyectos comisariales seleccionados mediante una convocatoria pública.
Para la programación del periodo de septiembre de 2014 a agosto de 2015 se pone en marcha la siguiente convocatoria abierta para la presentación de proyectos.

Participantes
Se pueden presentar a la convocatoria todas las personas que estén interesadas en desarrollar un proyecto de comisariado, a título individual o bien agrupadas en colectivos.

Objeto de la convocatoria
El objetivo de la convocatoria consiste en seleccionar un proyecto de programación para el Centre d’Art Contemporani de Barcelona. Esta programación tendrá que comprender todo el periodo de septiembre de 2014 a agosto de 2015.
El proyecto deberá incluir:
– Un mínimo de tres exposiciones

– Plan de actividades

– Plan de publicaciones

– Proyecto educativo

Dotación
Los recursos destinados a esta convocatoria se repartirán en dos partidas diferentes: 25.000 euros (IVA y otros impuestos incluidos) en concepto de honorarios profesionales para la persona o equipo ganadores y 175.000 euros (IVA y otros impuestos incluidos) para el desarrollo de las actividades propuestas en el proyecto.
Esta cantidad incluye los honorarios de los artistas participantes, así como todos los gastos asociados a la producción, exhibición y cualquier otro gasto que puedan generar los proyectos propuestos. Sin embargo, no quedan incluidos los gastos de vigilancia, limpieza y mantenimiento del espacio, vigilancia de la sala y atención al público, así como el resto de gastos de funcionamiento corriente del centro, que quedarán cubiertos por otras partidas presupuestarias.
El ICUB se compromete a realizar un gasto máximo de 75.000 euros (IVA y otros impuestos incluidos) en el año 2014, con cargo al estado de previsión de ingresos y gastos de 2014, y 100.000 euros (IVA y otros impuestos incluidos) en el año 2015, con cargo al estado de previsión de ingresos y gastos de 2015, para hacer frente a los gastos de producción, montaje y actividades asociadas.

Selección
Un comité evaluará los proyectos presentados.
El comité de valoración artística estará formado por:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs

Los proyectos serán evaluados en función de los siguientes aspectos:
– Calidad y adecuación de la propuesta a los objetivos del centro de arte
– Posibilidades de itinerancia y/o coproducción con otros centros del panorama catalán e internacional
– Equilibrio entre artistas locales e internacionales
– Programa de exposiciones
– Plan de publicaciones
– Plan de actividades
– Programa educativo
– Proyecto web (este proyecto deberá tener como base el actual espacio web del centro)
– Viabilidad presupuestaria en función de los parámetros establecidos en esta convocatoria

Solicitudes
Las personas interesadas deberán presentar un dosier que contenga:
Datos de la persona o personas participantes:
Nombre y apellidos
DNI
Fecha de nacimiento
Dirección
Teléfonos
Dirección electrónica
Breve currículum comentado (máximo 3.000 caracteres contando espacios)
Exposición sintética del marco conceptual de la propuesta (máximo 8.000 caracteres contando espacios).
Explicación esquemática del proyecto (máximo 8.000 caracteres contando espacios). Este esquema debe incluir la lista de exposiciones que se realizarán, los artistas participantes, el plan de publicaciones, la utilización del espacio web, el programa educativo, el plan de actividades, así como cualquier otro aspecto que se considere relevante.
Presupuesto detallado de producción, desglosado en partidas.
Calendario de realización.
Documentación adicional que se considere oportuna.
El jurado no tendrá en cuenta las solicitudes que no cumplan estos requisitos. La comisión podrá convocar entrevistas con los autores del proyecto si lo considera necesario.

Plazos
Las personas participantes deberán entregar los dosieres, en el plazo máximo de un mes a contar desde el día siguiente a la finalización del periodo de alegaciones, al registro general del Institut de Cultura de Barcelona, La Rambla, 99, 4º piso.

Derechos y obligaciones de las personas participantes
Las personas participantes se comprometerán a cumplir todo lo que se pacte con la dirección del ICUB, especialmente con relación a los plazos de programación de las actividades y dotaciones presupuestarias. En todos los proyectos se deberán tener en cuenta las condiciones contractuales con los artistas participantes, de modo que los derechos de autor queden protegidos de acuerdo con la legislación vigente.
Las personas residentes en España deberán aportar:
1. Certificado de Hacienda (con carácter positivo) que acredite que no se mantienen deudas con la Administración.
2. Certificado de la Seguridad Social actualizado que acredite que se está al corriente de los pagos y no se mantienen deudas pendientes.
Las personas residentes fuera de España a efectos fiscales deberán aportar:
– Certificado de residencia fiscal expedido por las autoridades fiscales del país correspondiente.

El envío de solicitudes supone la aceptación de las bases que aquí han quedado definidas.

Anexo
Objetivos estratégicos del Centre d’Art Contemporani de Barcelona
El despliegue del conjunto de la actividad llevada a cabo por el Centre d’Art Contemporani de Barcelona debe garantizar las obligaciones de servicio público siguientes, que son consideradas como objetivos estratégicos del centro:
Llegar a ser un centro de arte dedicado a potenciar, principalmente, el espacio de transición entre los circuitos del arte emergente y las trayectorias artísticas plenamente consolidadas y reconocidas, estableciendo un diálogo fluido entre las distintas generaciones.

Generar su actividad basándose en el riesgo y la experimentación, ofreciendo desde la calidad una gran libertad en los discursos artísticos. Fomentar la multidisciplinariedad de los lenguajes artísticos y la excelencia en los contenidos.

Fomentar la interacción con los diferentes agentes sociales y, muy especialmente, con los eventos motores de la cultura y otros sectores económicos de la ciudad.

Propiciar la creación de nuevos públicos y asegurar las relaciones del centro con el contexto inmediato, con los centros educativos y los colectivos susceptibles de participar en actividades de formación.

Contribuir a la consolidación y vertebración de iniciativas culturales de calidad desde criterios de coparticipación, coproducción y cofinanciación.

Como operador especializado, potenciar la conexión y el trabajo en red con otros agentes, instituciones y equipamientos de ámbito local, nacional e internacional, sobre todo con los equipamientos que forman parte de la Red Pública de Centros y Espacios de Artes Visuales de Catalunya, así como con las galerías de arte de la ciudad y con las Fábricas de Creación.

Basar el proyecto y las actividades del centro en parámetros de calidad, de eficacia y de transparencia en la gestión.

Maximizar el aprovechamiento de las TIC y las redes sociales para incrementar el público potencial e interactuar con él.

Establecer un proceso de desarrollo del proyecto que permita un crecimiento armónico del centro hasta conseguir el dimensionamiento deseable de forma sostenible.

Descargar las bases en formato pdf


———-versió en catalá (English Version above. Versión en español arriba)———-

Convocatòria per a la programació de la temporada 2014-2015 de Fabra i Coats – Centre D’art Contemporani de Barcelona

Introducció
El Centre d’Art Contemporani de Barcelona és un equipament cultural que té com a objectiu la producció, difusió i exhibició de projectes artístics contemporanis de creadors del context local i internacional. El seu àmbit de treball són les arts visuals i se centra principalment en l’espai de transició entre els circuits de l’art emergent i les trajectòries artístiques plenament consolidades i reconegudes.
El centre va començar la seva activitat el setembre del 2012 en l’espai de l’antiga fàbrica Fabra i Coats, al barri de Sant Andreu. El centre comparteix espai amb la Fàbrica de Creació i n’utilitza els serveis comuns (auditori, espais de socialització, oficines…). En la primera fase el centre ocupa un espai de 450 m2 més 150 m2 situats a l’entrada del complex. Els serveis comuns es compartiran amb la Fàbrica de Creació.
El centre va néixer amb la voluntat d’expandir-se a mesura que les necessitats i la disponibilitat pressupostària permetin continuar la restauració i adequació de les plantes superiors del mateix edifici. Així, l’any 2015 es completarà una segona fase en què s’assoliran els 1.800 m2 per arribar, posteriorment, a un màxim de 2.450 m2 d’espai expositiu i d’activitat.
Des de la temporada 2013-2014 es programa per cicles de projectes comissarials seleccionats mitjançant una convocatòria pública.
Per a la programació del període de setembre de 2014 a agost de 2015 es posa en marxa la següent convocatòria oberta per a la presentació de projectes.

Participants
Es poden presentar a la convocatòria totes les persones que estiguin interessades a desenvolupar un projecte de comissariat, a títol individual o bé agrupades en col·lectius.

Objecte de la convocatòria
L’objectiu de la convocatòria consisteix a seleccionar un projecte de programació per al Centre d’Art Contemporani de Barcelona. Aquesta programació haurà d’incloure tot el període de setembre de 2014 a agost de 2015.
El projecte haurà de preveure:
– Un mínim de tres exposicions

– Pla d’activitats

– Pla de publicacions

– Projecte educatiu

Dotació
Els recursos destinats a aquesta convocatòria es repartiran en dues partides diferents: 25.000 euros (IVA i altres impostos inclosos) en concepte d’honoraris professionals per a la persona o equip guanyadors i 175.000 euros (IVA i altres impostos inclosos) per al desenvolupament de les activitats proposades en el projecte.
Aquesta quantitat inclou els honoraris dels artistes participants, així com totes les despeses associades a la producció, l’exhibició i qualsevol altra despesa que puguin generar els projectes proposats. No hi queden incloses, però, les despeses de vigilància, neteja i manteniment de l’espai, vigilància de sala i atenció al públic, així com les altres despeses de funcionament corrent del centre, que quedaran cobertes per altres partides pressupostàries.
L’ICUB es compromet a una despesa màxima de 75.000 euros (IVA i altres impostos inclosos) l’any 2014, amb càrrec a l’estat de previsió d’ingressos i despeses de 2014, i 100.000 euros (IVA i altres impostos inclosos) l’any 2015, amb càrrec a l’estat de previsió d’ingressos i despeses de 2015, per fer front a les despeses de producció, muntatge i activitats associades.

Selecció
Un comitè avaluarà els projectes presentats.
El comitè de valoració artística estarà format per:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs

Els projectes seran avaluats en funció de:
– Qualitat i adequació de la proposta als objectius del centre d’art
– Possibilitats d’itinerància i/o coproducció amb altres centres del panorama català i internacional
– Equilibri entre artistes locals i internacionals
– Programa d’exposicions
– Pla de publicacions
– Pla d’activitats
– Programa educatiu
– Projecte web (aquest projecte haurà de tenir com a base l’actual espai web del centre)
– Viabilitat pressupostaria en funció dels paràmetres establerts en aquesta convocatòria

Sol·licituds
Les persones interessades hauran de presentar un dossier que contingui:
Dades de la persona o persones participants:
Nom i cognoms
DNI
Data de naixement
Adreça
Telèfons
Adreça electrònica
Breu currículum comentat (màxim 3.000 caràcters comptant espais)
Exposició sintètica del marc conceptual de la proposta (màxim 8.000 caràcters comptant espais).
Explicació esquemàtica del projecte (màxim 8.000 caràcters comptant espais). Aquest esquema ha d’incloure la llista d’exposicions a realitzar, els artistes participants, el pla de publicacions, la utilització de l’espai web, el programa educatiu, el pla d’activitats, així com qualsevol altre aspecte que es consideri rellevant.
Pressupost detallat de producció, desglossat en partides.
Calendari de realització.
Documentació addicional que es consideri oportuna.

El jurat no tindrà en compte les sol·licituds que no compleixin aquests requisits. La comissió podrà convocar entrevistes amb els autors del projecte si ho considera necessari.

Terminis
Les persones participants hauran d’entregar els dossiers, en el termini màxim d’un mes a comptar des de l’endemà de la finalització del període d’al·legacions, al registre general de l’Institut de Cultura de Barcelona, la Rambla, 99, 4t pis.

Drets i obligacions de les persones participants
Les persones participants es comprometran a complir tot el que es pacti amb la direcció de l’ICUB, especialment pel que fa a terminis de programació de les activitats i dotacions pressupostàries. En tots els projectes s’hauran de tenir en compte les condicions contractuals amb els artistes participants, de manera que els drets d’autor quedin protegits d’acord amb la legislació vigent.
Les persones residents a l’Estat espanyol hauran d’aportar:
1. Certificat d’Hisenda (amb caràcter positiu) que acrediti que no es tenen deutes amb l’Administració.
2. Certificat de la Seguretat Social actualitzat que acrediti que s’està al corrent dels pagaments i no es tenen deutes pendents.
Les persones residents fora de l’Estat espanyol a efectes fiscals hauran d’aportar:
– Certificat de residència fiscal expedit per les autoritats fiscals del país corresponent.

La tramesa de sol·licituds suposa l’acceptació de les bases que aquí han quedat definides.

Annex
Objectius estratègics del Centre d’Art Contemporani de Barcelona

El desplegament del conjunt de l’activitat duta a terme pel Centre d’Art Contemporani de Barcelona ha de garantir les obligacions de servei públic següents, que són considerades com a objectius estratègics del centre:
Esdevenir un centre d’art dedicat a potenciar, principalment, l’espai de transició entre els circuits de l’art emergent i les trajectòries artístiques plenament consolidades i reconegudes, tot establint un diàleg fluid entre les diverses generacions.

Generar la seva activitat basant-se en el risc i l’experimentació, oferint des de la qualitat una gran llibertat en els discursos artístics. Fomentar la multidisciplinarietat dels llenguatges artístics i l’excel·lència en els continguts.

Fomentar la interacció amb els diferents agents socials i, molt especialment, amb esdeveniments motors de la cultura i altres sectors econòmics de la ciutat.

Propiciar la creació de nous públics i assegurar les relacions del centre amb el context immediat, amb els centres educatius i amb els col·lectius susceptibles de participar en activitats de formació.

Contribuir a la consolidació i vertebració d’iniciatives culturals de qualitat des de criteris de coparticipació, coproducció i cofinançament.

Com a operador especialitzat, potenciar la connexió i el treball en xarxa amb altres agents, institucions i equipaments d’àmbit local, nacional i internacional, sobretot amb els equipaments que formen part de la Xarxa Pública de Centres i Espais d’Arts Visuals de Catalunya, així com amb les galeries d’art de la ciutat i amb les Fàbriques de Creació.

Basar el projecte i les activitats del centre en paràmetres de qualitat, d’eficàcia i de transparència en la gestió.

Maximitzar l’aprofitament de les TIC i les xarxes socials per incrementar el públic potencial i interactua-hi.

Establir un procés de desenvolupament del projecte que permeti un creixement harmònic del centre fins a assolir el dimensionament desitjable d’una manera sostenible.

Descàrrega les bases en pdf

The Fine Art of Being a Curator

The Fine Art of Being a Curator

Repost from an article in the NYT by Published: July 18, 2012

Over the last decade, as the contemporary art world has grown to planetary size — more galleries, more fairs, more art-selling Web sites, bigger museums, new biennials almost by the month — it has sometimes seemed as if a new kind of cultural figure has been born as well: the international curator, constantly in flight to somewhere.

The phenomenon is not wholly new. Roaming European curators like Harald Szeemann and Germano Celant set the terms in the 1960s. But the art world’s transformation has transformed the curatorial field, and this week you needed go no further than a few places in Manhattan to sample its increasingly global sweep. One afternoon in a meeting room near Madison Square Park a young Australian curator who specializes in aboriginal art was sitting next to a Yale-trained painter-art-professor-curator from Tennessee, who sat across a table from fellow curators from London, Beijing, Mexico City, Madrid (by way of Brazil) and Berlin (though working in Albania). In previous months curators from 20 other countries, many of them far from contemporary art’s beaten paths — Sri Lanka, Latvia, Nigeria, Bulgaria — had been in the city for the same reason.

Each of the curators had paid $1,900 — and in some cases more, for airfare and lodging — to come to New York for a 10-day training and networking program recently established by Independent Curators International, which has been known through most of its three decades for helping turn curators’ ideas into traveling exhibitions that are rented by established museums.

But over the last three years this nonprofit organization, based in modest offices overlooking lower Broadway, has reinvented itself, and its profile has begun to rise along with the profile of the profession.

While not exactly lucrative — the most recent snapshot by the Bureau of Labor Statistics puts the estimated mean salary of a curator, broadly defined, in the United States at $53,540 — the profession has grown rapidly in cachet. The word itself has seeped into the language, a little too deeply. (“Curate your Facebook profile like you curate your life,” a social media blog counseled recently.) And while the term “independent curator” is misleading — curators are usually attached to institutions or programs, if only temporarily — the example of itinerant curators who have become art-world celebrities in recent years, like Okwui Enwezor, Hans-Ulrich Obrist and Neville Wakefield, has had an effect.

“This whole phenomenon is really a post-millennium thing,” said Kate Fowle, a longtime British curator who took over as the executive director of Independent Curators in 2009 after working for a year as the curator of a new art center in Beijing. “It’s a profession growing at a very, very fast rate.”

Although precise numbers are hard to come by, Ms. Fowle said that an indication of the field’s size worldwide was that in the two and a half years since her organization started a training program in 2010, 672 applicants from more than 62 countries — “many more than we ever expected,” she said — have vied for what has turned out to be about 150 spots in the program, chosen by a jury. Two sessions are held each year in New York, each with room for only about 14 participants. And the popularity of the program quickly led Independent Curators to begin collaborations with other groups to start parallel training sessions elsewhere: in Philadelphia, Mumbai, Beijing and southeast Brazil, at the privately financed contemporary art complex known as Inhotim.

In New York this week the latest participants, ranging in age from early 20s to early 50s, spent time with some of the most prominent professionals of the city’s museums and nonprofit spaces: Nancy Spector, the chief curator at the Guggenheim; Scott Rothkopf, from the Whitney; Laura Hoptman from the Museum of Modern Art; Matthew Higgs from White Columns. The subjects and discussions — from the aesthetic subtleties of plinths and sandpaper tape to ideas about organizing exhibitions against one’s own taste — were as expansive and amorphous as the job description.

Ms. Spector spoke about the difficulties of “grappling with the authority” of the Guggenheim’s architecture (“I sometimes think that I can’t install in a square room anymore”), but also, more extensively, about the dangers of the “helicopter model of international curating,” which too often leads to superficial understanding of cultures and their art — and to bad shows, she said.

Mr. Rothkopf, who was headed to another curators’ conference in Boston the next day, extolled the virtues — those he joked might seem almost “neocon” in an accelerating art world — of working closely with museum collections and with artists over long periods of time to create exhibitions “that shape an argument.”

“I want to have some voice as a curator,” he said, “not just as a kind of movie producer.”

An unofficial theme of the gathering was a desire among many curators to find ways to to define themselves against the juggernaut of the commercial art world while still being able to pay the bills.

“It’s very hard for people doing this in China to find the right kind of place, that doesn’t feel like just a part of the market,” said Su Wei, an independent critic and curator from Beijing. Meaghan Kent, who worked for Chelsea galleries for many years and recently started a nonprofit program, site95, that organizes shows in temporary urban spaces, said that many curators she knows are as creative about their livelihoods as they are in their work with art and artists.

“There are a lot of people out there who are artist-curator-bartender-whatevers, and they just put it all together to make it work,” she said. “They want to be able to have the freedom to make things up as they go.”

Emilia Galatis, a curator from Perth, Australia, who spent part of last year in the desert meeting aboriginal artists, said that visiting New York and talking to curators from around the world underscored for her how far off the radar of contemporary art aboriginal art remains, and how narrow the focus of the curatorial field can be despite its size.

“It’s really hard even to talk precisely about global curating when the world is still so diverse,” she said.

But Mr. Su said that the more he traveled as a curator, the less diverse the art world was coming to seem. “I was at another curators conference just before I came here, in Guangzhou, and all the things we were discussing there weren’t much different from what we’re discussing here today.”

Reposted from http://www.nytimes.com/2012/07/19/arts/design/as-the-art-world-grows-so-does-the-curators-field.html?_r=2&ref=design
A version of this article appeared in print on July 19, 2012, on page C1 of the New York edition with the headline: The Fine Art Of Being A Curator.

Visual and Media Art Call, Western Australia. Deadline: Oct. 29, 2012

IASKA: Call for Expressions of Interest

spaced 2013-2015

http://www.iaska.com.au

Applications due Monday 29 October 2012

IASKA is calling for Expressions of Interest from artists working with visual, digital and hybrid media who are interested in participating in the second iteration of spaced, IASKA’s recurring event of socially engaged art. This new event will comprise 16 residency-based projects that will take place in regional Western Australian locations throughout 2013-14, followed by a group exhibition of the residency outcomes at the Western Australian Museum (WAM), Perth in early 2015.

The curatorial focus of the second iteration of spaced will consider the idea of collective memory, intended as the site of competing narratives that communities re-interpret and reinvent to construct images of their present and future.

The 16 spaced residency projects will encompass:

• Artistic practices that intervene in the fabric of everyday life and straddle the boundaries of art, science and technology, social activism, design and architecture.
•    Commissioning of artworks that result from a process of negotiation and consultation between artists and specific social groups within their host community.
•    Facilitation of artworks that strike a balance between situation-specificity and gallery display.
•    Promotion of a dialogue between realities that are usually separated by cultural, social, economic or geographical distances.
• Diversification of the life experience of artists so that a comprehensive experience of Australian culture, in its many forms, will be reflected in the contemporary arts

Participating artists will be commissioned to create new works informed by a dialogue with local residents and aimed at exploring local issues in a global context. The remuneration package will comprise an artist’s fee, contribution to materials and production costs, travel allowance, accommodation, on site staff support (part-time) and the use of a vehicle.

The program will be run through a tripartite partnership between IASKA, regional community host organisations and the Western Australian Museum (museum.wa.gov.au/iaska-spaced). The regional hosts will provide on-site support while the Museum will assist with the development of some projects through the provision of access to its collection, facilities and research staff. The Museum will also play host to the 2015 spaced group exhibition, contribute to the documentation and public program supporting this exhibition along with considering acquisition of some of the artworks for its collection. The event will take shape progressively through a dialogue between prospective artists, participating communities and WAM, and will be mediated and coordinated by IASKA.

About IASKA:
IASKA was formed in 1998 by farmers and art professionals interested in exploring cultural identity through art. Our mission is to experiment with new and more productive modes of interaction between contemporary artists and communities by supporting artistic practices that engage with local social contexts and are based on an exchange between regional, metropolitan and international points of view. Our philosophy is based on the principle that contemporary art should not be isolated in its specialist domain but participate in a cross-disciplinary dialogue involving a wide range of other cultural and social practices. Our activities comprise context-specific projects, solo exhibitions, touring group exhibitions, publications, educational and mentoring programs.

Contact
admin@iaska.com.au
Katherine Wilkinson
Phone: +61 8 9228 2444
Fax: +61 8 9228 2444

Address
http://www.iaska.com.au
IASKA
PO Box 8087
Perth BC 6849
Australia

Info
For further information and to obtain an Expression of Interest form please email: admin@iaska.com.au or download a copy from http://www.iaska.com.au