Tag Archives: Production

Call for papers – After Post-Photography. Deadline: 20 Dec. 2017

————- English (véase abaja para español ————

Call for papers, for Conference

AFTER POST-PHOTOGRAPHY 4 – MODES OF PRODUCTION

Сultural, Historical and Visual Studies in Photography

16-18 May 2018, European University in St. Petersburg, Russia

That photographic media, in one way or the other, record, depict and represent truth, realities and the past, is a staple. In theory this relation has been called into question, in particular with the advent of digital image manipulation, and the doubts have been extended since to analogue photography, too. Yet despite these doubts the notion of photographs being somewhat true permeates most, if not all, practices with these media: in science and humanities, photographic images replace and represent the object of research; in an ID, the portrait connects a face and a body with a name and other personal data; photographs in family albums and books allow to look back into the past. And though it may have been the reason for recent doubts in photography’s veracity, digital photography thrives on this promise as well: we share meals with our social networks the moment they are served, video telephony lets us talk not only to a voice but a face, and GPS metadata tells us where on Earth we took a certain picture. Moreover, photography is hybridized when the camera in our smartphones becomes a scanner for QR-codes, drones are equipped with face-recognition software, and augmented reality systems transform the material world into a space and surface for digital data.

 

Under these conditions, photography has ceased to be a specific medium generating still images. It has become a dispositif in the sense of being a network of applications, institutions, materialisations and theoretical settings such as its privileged relation in representing truth – which, looking back, it has always been. The discussions concerning the re-evaluation of photography, however, usually give most attention to individual pictures as products and as depictions. What we would like to focus upon  with our next conference are the modes of the technical, optical, chemical and social conditions of pre-, post-, mass and over-production, of  the distribution, consumption, circulation and archiving of what is so commonly known as photographs. We welcome in particular submissions concerned with new theoretical and empirical approaches and perspectives on these fields. And we would be delighted to receive papers dealing with rarely researched topics such as photographic optics, photochemistry and the applications of soft- and hardware for generating photorealistic images. We plan to arrange the talks in four panels:

 

  • Ça eu été? What photography has been and will become.
  • What is needed. The material bases of photography
  • How to use them. Production, dissemination, application and perception of photographic images
  • What else is new? Photographic practices at the fringes of photography.

 

Please submit your application, including a short summary of your paper (250-400 words) in English using the following link: https://easychair.org/conferences/?conf=app4 no later than 20 December 2017. Note that you should register at the Easychair website in order to submit your application. There is no participation fee.

We shall consider the possibility of online participation for a limited number of participants. The working languages of the conference are Russian and English. Conference materials are planned for publication in 2018-2019. For programs of After Post-Photography since 2015 and past publications, please see http://www.after-post.photography

We would appreciate it if you would circulate the call to your own networks and other mailing lists.

Organising committee After Post Photography 4:

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

E-mail address:app@mur.at

http://www.after-post.photography

 

————— Español ——————–

Convocatoria de trabajos, para conferencia

DESPUÉS DE LA POST-FOTOGRAFÍA 4 – MODOS DE PRODUCCIÓN

Estudios culturales, históricos y visuales en fotografía

16 -18 de mayo de 2018, Universidad Europea de San Petersburgo, Rusia

El medio fotográfico de una u otra manera, registra, representa y plasma la verdad, las realidades y el pasado, como un elemento fundamental. En teoría, esta relación se ha puesto en tela de juicio, en particular con la aparición de la manipulación de la imagen digital y las dudas se han extendido desde entonces también a la fotografía analógica. Sin embargo, a pesar de estas dudas, la noción de fotografía como algo verdadero impregna la mayoría, si no todas, las prácticas: en ciencia y humanidades. Las imágenes fotográficas sustituyen y representan el objeto de la investigación; como identificación, el retrato conecta un rostro y un cuerpo con un nombre y otros datos personales; las fotografías en álbumes y libros de familia permiten mirar hacia atrás en el pasado. Y aunque puede haber sido el motivo de la recientes dudas sobre la veracidad de la fotografía, la fotografía digital también se basa en esta promesa también. Compartimos las comidas con nuestras redes sociales en el momento en que se sirven, la videotelefonía nos permite hablar no sólo con una voz sino con una cara, y los metadatos GPS nos dicen en qué lugar de la Tierra tomamos una determinada foto. Además, la fotografía se hibrida cuando la cámara de nuestros smartphones se convierte en un escáner para códigos QR, los drones están equipados con software de reconocimiento facial y los sistemas de realidad aumentada transforman el mundo material en un espacio y una superficie para datos digitales.

En estas condiciones, la fotografía ha dejado de ser un medio específico para generar imágenes fijas. Se ha convertido en un dispositivo en el sentido de ser una red de aplicaciones, instituciones, materializaciones y escenarios teóricos como su relación privilegiada en la representación de la verdad -que, mirando hacia atrás, siempre lo ha sido. Sin embargo, los debates sobre la reevaluación de la fotografía, sin embargo, por lo general prestan la mayor atención a las imágenes individuales como productos y como representaciones.

Lo que nos gustaría destacar en nuestra próxima conferencia son los modos de las condiciones técnicas, ópticas, químicas y sociales de pre, post, producción y sobreproducción del medio, la distribución, consumo, circulación y archivo de lo que comúnmente se conoce como fotografías. Son especialmente bienvenidas, los proyectos relativas a nuevos enfoques teóricos y empíricos y las perspectivas sobre estos ámbitos. Y nos encantaría recibir trabajos sobre temas raramente investigados como la óptica fotográfica, la fotoquímica y las aplicaciones de soft- y hardware para la generación de imágenes fotorealistas. Planeamos organizar las charlas en cuatro paneles:

– Qué fue? Lo que la fotografía ha sido y será.

– Lo que se necesita. Las bases materiales de la fotografía.

– Cómo usarlas. Producción, difusión, aplicación y percepción de imágenes fotográficas.

– ¿Qué hay de nuevo? Prácticas fotográficas al margen de la fotografía.

 

Por favor envíe su solicitud, incluyendo un breve resumen de su trabajo (250-400 palabras) en inglés utilizando el siguiente enlace: https://easychair.org/conferences/?conf=app4 a más tardar el 20 de diciembre de 2017. Tenga en cuenta que debe registrarse en el sitio web de Easychair para enviar su solicitud. No hay cuota de participación.

Consideraremos la posibilidad de participación en línea para un número limitado de participantes.

Los idiomas de trabajo de la conferencia son el ruso y el inglés.

Los materiales de la conferencia están previstos para su publicación en 2018-2019.

Para los programas de After Post-Photography desde 2015 y las publicaciones anteriores, por favor vea http://www.after-post.photography

Le agradeceríamos que hiciera circular el llamada entre sus redes y listas de correo.

Comité Organizador After Post Photography 4: Comité Organizador

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

Correo electrónico: address:app@mur.at

http://www.after-post.photography DIFUNDE LA PALABRA-

 

Advertisements

BECA FRAGMENTS (SPANISH ONLY). DEADLINE: DEC. 15, 2017

This is a Call for participation for a photography competition, unfortunately the contributions can be presented only in Spanish, however your  nationality doesn’t matter…


La Beca de Producción Fragments es una convocatoria pública con carácter anual que sirve de mecanismo para la selección de los ensayos y los autores que forman parte de la Colección Fragments. El objeto de la beca es la realización y producción de un ensayo visual, sobre la historia contemporánea de la Comunidad Valenciana, de acuerdo a los criterios establecidos en las bases.

La convocatoria se abre anualmente para la presentación de propuestas.

La candidatura galardonada con la Beca Fragments tendrá derecho a la percepción de una dotación económica para la realización del proyecto y a la publicación del ensayo en el contexto de la Colección Fragments, con el apoyo de la Unió de Periodistes Valencians y del equipo de trabajo del proyecto.

Modelo de proyecto

Se ha elegido el ensayo por su capacidad como herramienta para la investigación visual. Este formato permite aproximarse a todo tipo de fenómenos de acuerdo a la propia subjetividad y criterio del autor.

Creemos que este puede ser un modelo profesional adecuado para el ejercicio futuro del periodismo gráfico en términos de independencia, rentabilidad económica y capacidad de transformación.

Espíritu de la Beca de Producción

Esta beca, como parte del proyecto cultural Fragments, no pretender representar ni premiar las mejores prácticas periodísticas, sino servir de banco de pruebas para investigar la relación entre los lenguajes visuales y los hechos informativos y así proponer un mejor uso de las imágenes en contextos informativos y mejorar el ejercicio del periodismo gráfico.

Debido a esta naturaleza de “banco de pruebas” no se establecen apenas limitaciones para la participación o para el uso de técnicas, métodos y medios mas allá de los formatos establecidos en las bases. De la misma forma, se han establecido unos criterios de valoración que premian las prácticas mas conscientes y equilibradas.

Contenido de la Beca

La dotación económica consiste de dos partes: una asignación de 6.000 € en concepto de salario y gastos de realización, y la cobertura del presupuesto de producción de las versiones publicación y exposición del ensayo, de acuerdo al presupuesto disponible, y hasta un máximo de 7.000 €.

 

Clic aquí para participar.

The Luminary Residency Program. Deadline: Sept. 15, 2017

Applications Open for 2018 Residencies

As a leading artist-run and artist-centric space, The Luminary supports exceptional ideas and initiatives by providing dedicated time, considered collaborations and a supportive working environment through our Residency Program. The program is open to all artists, performers, curators and critics, but uniquely supports the research, development and presentation of work that utilizes innovative forms and unconventional structures such as alternative spaces and economies, publications and writing, archives, collaborations, artist-led projects and experimental institutional practices.

Though open to all applicants, particular attention for 2018 will be given to the theme of New Constitutions: Commoning the Institution. For the year, we invite proposals that rethink the relationship between the individual and the institution, asking questions such as: How does an artist, art writer, performer or curator reshape an institution’s practice, its publics, or its politics? How do economies of care and collaboration reshape the institution? How do we work past the individual economies of the art world and advance new conceptions of the commons? Participants may propose to alter our administrative procedures or physical environment; propose new uses of space or initiate other spaces within our own; rework our public relations or intervene within our online presence; or thoroughly reimagine how we relate with artists and circulate within the art world.

In 2018, The Luminary will accept twelve residents in three phases: April and May; June and July; and September and October. Residencies are two weeks up to six weeks in duration and each resident will receive stipends, spacious private accommodations, shared studio space, and connections with local artists, curators and galleries. Each resident is expected to work towards an exhibition, publication, institutional collaboration or other public program during their residency.

Applications are due September 15th, 2017 for residencies taking place throughout 2018.

To apply, please fill out the online application.

For more information, visit our website or email us at info@theluminaryarts.com.

acePIRAR Artist-in-Residences, Buenos Aires. Deadline: Jan 31, 2017

‘acePIRAR Artist-in-Residence International Program aims to support all kind of contemporary artistic practices (including performance and curatorial proposals) through research and production residencies, promoting the exchange, debate, experimentation and collaborative work. A program that provides TIME, SPACE and GUIDANCE to explore expanded as well as traditional print media, while it connects the artists with the art scene of Buenos Aires, Argentina, one of the Latin America cultural capitals.

We offer different types of residencies in order to best fit to each artist and project’s interest and needs:
PRODUCTION | EXPLORATION | SUB30 (for artists under 30 with a special fee) | Palimpsest (for mural painting) | Micro-residency (short format of 5 days)

Production residencies [4 weeks]: intended to produce new work, a project or a site-specific installation with the possibility to show the finished work at the end of the stay. We welcome all kind of projects and encourage submitting those that question the singularity of the art object by using new media, design and/or their interfaces, blurring their boundaries.

Exploration residencies [4 weeks]: intended to emphasise the process over the presentation of the results, encouraging residents to get inspiration from the new experiences achieved through the interaction with other residents and the cultural environment that the city of Buenos Aires provides.

Duration of residency
The program encompasses a period of 4-weeks. Slots can be selected here: http://www.proyectoace.org/slots.

Artists can apply for any slot for next year among those posted at the website. Residency working time starts on first Monday at 10am and ends on last Friday at 6pm.

NOTE: There is not a minimum or maximum age to apply for a residency (although there is a lower fee for artists younger than 30 years old), as well as there is not discrimination regarding country of origin, race, language or gender identity when candidates are selected.

Accommodation
Artists have two different possibilities of lodging:
A) Aloj´ace is our guesthouse, an apartment equipped to accommodate artists and curators located in the city center of Buenos Aires, next to all the cultural attractions and at only 20 minutes distance from the ‘ace studio. The apartment is fully furnished with a full kitchen and bath and all cost (Internet WI-FI, cable television, local phone usage, cleaning, linen and utilities) included. This apartment can receive up to two artists or a single artist with accompaniment.

B) The artist may arrange its own lodging by renting an apartment, staying with friends or in hostels, hotels, B&B, etc. Buenos Aires is a city that offers many lodging options.

Studio/ workspace
Artists that choose the Production Residency use the ‘ace workshop (www.proyectoace.org/en/talleres): a large, quiet space with lots of light coming from several large windows and two skylights. The shop includes equipment to facilitate a variety of traditional and new print processes including Intaglio, Monotype/Monoprint, Woodblock, Waterless Lithography, Silk-aquatint, Photpolymer Intaglio, as well as artists’ books and Drawing.

Artists who choose the Exploration residency work in The Tower (www.proyectoace.org/en/torre): a quiet and luminous studio located on the second floor with open view, accessibly by a spiral staircase. It is ideal to research, study, write and create.

Fees and support
Non application fee. The production residency has a basic fee and the artist can select other options: lodging, materials or technical assistance. Basic fee covers studio space, access to equipment, reviews from a professional team, meals and refreshments at studio hours, studio accident insurance, guidance through the city and cultural events, public transportation card, cellphone for local calls, networking. The residency fee does not include travel, health insurance and shipping expenses.

Application information
Ask for the complete guidelines here: www.proyectoace.org/additional_info
After receiving all the information for the specific type of residency (Production, Exploration, SUB30, Palimpsest mural painting residency or micro-residency) artists complete an application form which the ‘ace team will provide.

Contact
info@proyectoace.org
Alicia Candiani
Phone: + 54911 4551 3218

Address
http://www.proyectoace.org/
Fundación ‘ace para el Arte Contemporáneo
Conesa 667
1426 | Buenos Aires
Argentina

Info
Artist-in-Residence International Program
Call for artists, researchers, curators
Production | Exploration | Mural Painting
http://www.proyectoace.org/additional_info

Production Ireland’s annual commissioning for emerging artists. Deadline: June 1, 2012

Production Ireland – Call for CCA’s annual commissioning for emerging artists

Derry – Londonderry, Northern Ireland
Event dates: 2012

Open call

Production Ireland is CCA’s annual commissioning for emerging artists with a connection to our region. Every year, a jury composed of three international arts professionals will assess applications and select an artist, duo or group to realize a specific project. This inaugural commission has been made possible through the generous support of Arts & Businesses, Caldwell & Robinson Solicitors, and The Arts Council of Northern Ireland.

The selected project will be supported with a production budget of £3,700 or €4,500, a fee of £1,500 or €1,800, and travel to and accommodations in the City of Derry for up to one month, if the recipient does not reside in the greater city area. The proposed project does not have to have a connection to the city or its history.

The aim of Production Ireland is to identify and support some of the most promising art practitioners connected to Ireland, North and South, and provide them with an opportunity to produce new work and bring it to the attention of a wider public. No age limit or specified nationality applies to this call but the applicant needs be in the earlier stages of his or her career and have a connection to Ireland.

Please apply by sending a project description, of up to 1000 words, a Curriculum Vitae, an estimated budget, and up to 10 images or/and links to videos/sound works. The total applications should not exceed 10 MB.
Please send all materials via WeTransfer (www.wetransfer.com) to the email address below, by midnight on Friday, June 1st (Greenwich Mean Time). The successful applicant(s) will be notified during the first half of July.

Deadline: 01/06/12

cca-derry-londonderry.org/event/production

Contact:
CCA Derry – Londonderry
5-7 Artillery St.
BT48 6RG Derry – Londonderry
Northern Ireland
phone: +44 (0)28 71 37 35 38
info@cca-derry-londonderry.org
cca-derry-londonderry.org