Categoria: Oportunidades

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Global Art
A symposium held by the AICA (Austrian and Swiss sections) and the Salzburg International Summer Academy of Fine Arts
Concept: Sabine B. Vogel, Hildegund Amanshauser
Duration: 29 – 31 July 2011
Location: Künstlerhaus, Salzburg

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Symposium
Globalisation is generally taken to refer to an economic process. But what does this worldwide development signify for art? Are we at the beginning of a new development, which we might call global art – and what do we understand by this? How far do the new living conditions of globality influence contemporary art? Since art has been internationally linked for centuries, is there now some new quality that distinguishes global art? How does what we might call global art relate to the debate on post-colonialism?
These issues will be debated in a 2-day symposium, 29 – 30 July 2011, in which theorists and artists will attempt to clarify the term and the concepts involved in “global art”. The symposium will be organised by the Austrian and Swiss sections of the AICA (International Association of Art Critics) together with the Salzburg International Summer Academy of Fine Arts.

 .

Global art – wish or reality?
“It is time to re-stage the world”, writes the Indian cultural theorist Nancy Adajania. Her aim is to achieve a state able “to release the cultural self towards others in a manner that bypasses dependency and embraces collaboration, making for a productive cosmopolitanism”. Thus the objective is a society based on exchange and mutuality.
The basis of this “re-staging” is globalisation, which Adajania counters with “globalism”. While globalisation refers to the world economic transformation process, which started in 1989, globality stands for life in a globalised world. According to Ulrich Beck, the term refers to the way of life in a “perceived or reflexive world society”, determined by multiplicity without unity.  Globalism, according to Beck, is the neo-liberal ideology of globalisation: economic activity displaces political activity, with the aim of world economic dominion. Adajania, on the other hand, sees “globalism” as “a reflection on, and antidote to, globalisation”.

 .

Global art
For art, globalisation means first of all the end of western hegemony and the beginning of a world trade market. With globalisation, more and more artists enter the global art market, followed by galleries and collectors from a variety of cultures and regions. The influence of globalisation is beginning to emerge clearly in the themes of the artworks.  Globality is increasingly under discussion, as for instance when at the 2008 Sharjah Biennial, the Indian artists’ collective CAMP, with their radio and book project Wharfage call maritime trade a “space of conflict”, inviting viewers to see the picturesque ships in the Emirate not as motifs for tourist snapshots, but in the global context of the goods, the working conditions and the restricted rights of the seamen.  In his grand-scale installation Nations, the Indian artist N.S. Harsha – who was awarded the prestigious British Artes Mundi Prize (worth ₤40,000) in 2008 – stretched threads from 192 sewing-machines on which the national flags of all the United Nations countries appear to be in the process of manufacture; this is a powerful image for the fellowship of all countries in the tangle of nations and the many interconnections between them. Taysir Batniji uses a widely-known artistic language when he photographs Israeli watchtowers in his native Palestine à la Bernd & Hilla Becher, thus politicising the functionalist style of the Düsseldorf couple.

Is this global art? Does global art refer generally to art created no longer from the standpoint of western cultural superiority, but from the experience of globality and under the conditions of globalisation? Is global art a collective term for works that trace the history of images and their worldwide dissemination – or does it refer to those works, which manage to overcome the long outdated geo-political division of the world into western/non-western? Is the mark of global art a worldwide intelligible visual language, or is it the use of themes concerning globalisation? Or is global art the wish for and the promise of a multicentric perception of the world, in which local and global are expressly linked, traditions and current developments juxtaposed, and boundaries of cultural hegemony open to discussion?

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Speakers:
Nancy Adajania, culture theorist, curator and film-maker, New Delhi
Question: If global art stands for new possibilities, qualities and chances for artists and art institutions in former peripheral art scenes, what exactly does that mean?

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Hans Belting, art historian, professor emeritus at the State University of Arts and Design, Karlsruhe; published  works include: Florenz und Bagdad. Eine westöstliche Geschichte des Blicks, Munich: C. H. Beck, Munich, 2008 an he is coeditor (together with Andrea Buddensieg) of The Global  Art World. Audiences, Markets and Museums, Hatje Cantz Osterfildern 2009. He initiated  together with Peter Weibel the GAM – Global Art and the Museum at ZKM | Center for Art and Media Karlsruhe in 2006.
Question: How would you describe the history of international exchange in the art world with a few examples, which illustrate this exchange? What is exactly global art, how could it be defined, what its new quality?

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Bassam El Baroun, writer, curator, Alexandria, Egypt; co-founder of the Alexandria Contemporary Arts Forum (ACAF), curator of Manifesta 8 in Murcia and Cartagena, Spain
Question: What impact had the globalisation (economy, media etc) on the Egyptian revolution of February and March 2011? What effects does it have on the art scene in general and on your work specifically?

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Monica Juneja, art historian, lecturer in Global Art History at the University of Heidelberg; published works include: Text und Bild in den Berichten über aussereuropäische Welten, theme issue, Zeitenblicke (ed. with Barbara Potthast), 2008.
Question: What are the challenges of the new branch Global Art History?

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Jitish Kallat, artist, Mumbai, India
Question: What does global art mean for you and your artistic production? What role does it play in the Indian Art scene?

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Christian Kravagna, art historian, critic and curator; specialities: post-colonialism, migration, critique of institutions and representation, visual culture, art and politics. Since 2006 Professor of Postcolonial Studies at the Vienna Academy of Fine arts.
Question: Global Art and global curating?

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 .

Global Art
A symposium held by the AICA (Austrian and Swiss sections) and the Salzburg International Summer Academy of Fine Arts
Concept: Sabine B. Vogel, Hildegund Amanshauser
Duration: 29 – 31 July 2011
Location: Künstlerhaus, Salzburg

 .

Symposium
Globalisation is generally taken to refer to an economic process. But what does this worldwide development signify for art? Are we at the beginning of a new development, which we might call global art – and what do we understand by this? How far do the new living conditions of globality influence contemporary art? Since art has been internationally linked for centuries, is there now some new quality that distinguishes global art? How does what we might call global art relate to the debate on post-colonialism?
These issues will be debated in a 2-day symposium, 29 – 30 July 2011, in which theorists and artists will attempt to clarify the term and the concepts involved in “global art”. The symposium will be organised by the Austrian and Swiss sections of the AICA (International Association of Art Critics) together with the Salzburg International Summer Academy of Fine Arts.

 .

Global art – wish or reality?
“It is time to re-stage the world”, writes the Indian cultural theorist Nancy Adajania. Her aim is to achieve a state able “to release the cultural self towards others in a manner that bypasses dependency and embraces collaboration, making for a productive cosmopolitanism”. Thus the objective is a society based on exchange and mutuality.
The basis of this “re-staging” is globalisation, which Adajania counters with “globalism”. While globalisation refers to the world economic transformation process, which started in 1989, globality stands for life in a globalised world. According to Ulrich Beck, the term refers to the way of life in a “perceived or reflexive world society”, determined by multiplicity without unity. Globalism, according to Beck, is the neo-liberal ideology of globalisation: economic activity displaces political activity, with the aim of world economic dominion. Adajania, on the other hand, sees “globalism” as “a reflection on, and antidote to, globalisation”.

 .

Global art
For art, globalisation means first of all the end of western hegemony and the beginning of a world trade market. With globalisation, more and more artists enter the global art market, followed by galleries and collectors from a variety of cultures and regions. The influence of globalisation is beginning to emerge clearly in the themes of the artworks. Globality is increasingly under discussion, as for instance when at the 2008 Sharjah Biennial, the Indian artists’ collective CAMP, with their radio and book project Wharfage call maritime trade a “space of conflict”, inviting viewers to see the picturesque ships in the Emirate not as motifs for tourist snapshots, but in the global context of the goods, the working conditions and the restricted rights of the seamen. In his grand-scale installation Nations, the Indian artist N.S. Harsha – who was awarded the prestigious British Artes Mundi Prize (worth ₤40,000) in 2008 – stretched threads from 192 sewing-machines on which the national flags of all the United Nations countries appear to be in the process of manufacture; this is a powerful image for the fellowship of all countries in the tangle of nations and the many interconnections between them. Taysir Batniji uses a widely-known artistic language when he photographs Israeli watchtowers in his native Palestine à la Bernd & Hilla Becher, thus politicising the functionalist style of the Düsseldorf couple.

Is this global art? Does global art refer generally to art created no longer from the standpoint of western cultural superiority, but from the experience of globality and under the conditions of globalisation? Is global art a collective term for works that trace the history of images and their worldwide dissemination – or does it refer to those works, which manage to overcome the long outdated geo-political division of the world into western/non-western? Is the mark of global art a worldwide intelligible visual language, or is it the use of themes concerning globalisation? Or is global art the wish for and the promise of a multicentric perception of the world, in which local and global are expressly linked, traditions and current developments juxtaposed, and boundaries of cultural hegemony open to discussion?

 .

Speakers:
Nancy Adajania, culture theorist, curator and film-maker, New Delhi
Question: If global art stands for new possibilities, qualities and chances for artists and art institutions in former peripheral art scenes, what exactly does that mean?

 .

Hans Belting, art historian, professor emeritus at the State University of Arts and Design, Karlsruhe; published works include: Florenz und Bagdad. Eine westöstliche Geschichte des Blicks, Munich: C. H. Beck, Munich, 2008 an he is coeditor (together with Andrea Buddensieg) of The Global Art World. Audiences, Markets and Museums, Hatje Cantz Osterfildern 2009. He initiated together with Peter Weibel the GAM – Global Art and the Museum at ZKM | Center for Art and Media Karlsruhe in 2006.
Question: How would you describe the history of international exchange in the art world with a few examples, which illustrate this exchange? What is exactly global art, how could it be defined, what its new quality?

 .

Bassam El Baroun, writer, curator, Alexandria, Egypt; co-founder of the Alexandria Contemporary Arts Forum (ACAF), curator of Manifesta 8 in Murcia and Cartagena, Spain
Question: What impact had the globalisation (economy, media etc) on the Egyptian revolution of February and March 2011? What effects does it have on the art scene in general and on your work specifically?

 .

Monica Juneja, art historian, lecturer in Global Art History at the University of Heidelberg; published works include: Text und Bild in den Berichten über aussereuropäische Welten, theme issue, Zeitenblicke (ed. with Barbara Potthast), 2008.
Question: What are the challenges of the new branch Global Art History?

 .

Jitish Kallat, artist, Mumbai, India
Question: What does global art mean for you and your artistic production? What role does it play in the Indian Art scene?

 .

Christian Kravagna, art historian, critic and curator; specialities: post-colonialism, migration, critique of institutions and representation, visual culture, art and politics. Since 2006 Professor of Postcolonial Studies at the Vienna Academy of Fine arts.
Question: Global Art and global curating?

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The Patio of the Llotja is a new space that is used during the festival EMERGENT-LLEIDA 2011, specifically for the Nice to Meet You series of events. It is a meeting point intended to establish exchanges and create networks and synergies between emerging artists/photographers and the curators, festivals, galleries or publishers. EMERGENT-LLEIDA Festival suggests that this is the place to make known your work within and beyond the festival.
In keeping with this philosophy, every year the festival will adopt fourty emerging artists through an international public call. They will have the opportunity to show their portfolio to players within the art sector, who have been specifically invited to attend the festival.

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PHASE 1
Rights of participation Phase 1

Free
Who can participate

Any artist or photographer who considers her/himself “emerging”, regardless of age or nationality.
Work to show

You must show a series of between 15 and 20 topically-connected images, in digital format.
How to submit the works

Works must be sent via the festival’s website.
You must fill out the form and then you will be able to upload the images.
Technical conditions for the images:
Images may not exceed 1200 pixels on any side.
Images may be no larger than 900 KB.
Photographs must be sent with the embedded RGB profile (1998)
Deadline for submission of on-line work

The deadline for submission of work is 30th June 2011.
Selection process for authors attending Patio of the Llotja

Rafael Doctor (director of MUSAC 2001-2009) is responsible for selecting works and authors to participate in the Patio of the Llotja. Selected authors will be personally notified by mail.

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PHASE 2 OF SELECTION

The finalist authors, along with their printed portfolios, will attend the Patio of the Llotja (Lleida-Spain) on 27st and 28nd October 2011.
Authors are required to bring unmounted images for their portfolio printed in 30x40cm size (the organization will provide a box and folder with which to show the works). They may attach all the material they think they will need to complete their portfolio.

There will be a physical space to display their work to the followers as well as the general public, while they will compete for the different awards associated with the activity of the Patio of the Llotja.
Rights of participation: € 79

The authors selected to participate in El Pati de la Llotja are required to pay € 79 at the festival by way of participation fees. This amount must be paid into the account of the festival no later than 7 days after the selection is announced. The amount does not include accommodation, subsistence or travel, which will be borne by each author.

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More details: http://www.elpatidelallotja.org/eng/Awards-and-calls

 .

 .

 .

The Patio of the Llotja is a new space that is used during the festival EMERGENT-LLEIDA 2011, specifically for the Nice to Meet You series of events. It is a meeting point intended to establish exchanges and create networks and synergies between emerging artists/photographers and the curators, festivals, galleries or publishers. EMERGENT-LLEIDA Festival suggests that this is the place to make known your work within and beyond the festival.
In keeping with this philosophy, every year the festival will adopt fourty emerging artists through an international public call. They will have the opportunity to show their portfolio to players within the art sector, who have been specifically invited to attend the festival.

 .

PHASE 1
Rights of participation Phase 1

Free
Who can participate

Any artist or photographer who considers her/himself “emerging”, regardless of age or nationality.
Work to show

You must show a series of between 15 and 20 topically-connected images, in digital format.
How to submit the works

Works must be sent via the festival’s website.
You must fill out the form and then you will be able to upload the images.
Technical conditions for the images:
Images may not exceed 1200 pixels on any side.
Images may be no larger than 900 KB.
Photographs must be sent with the embedded RGB profile (1998)
Deadline for submission of on-line work

The deadline for submission of work is 30th June 2011.
Selection process for authors attending Patio of the Llotja

Rafael Doctor (director of MUSAC 2001-2009) is responsible for selecting works and authors to participate in the Patio of the Llotja. Selected authors will be personally notified by mail.

 .

PHASE 2 OF SELECTION

The finalist authors, along with their printed portfolios, will attend the Patio of the Llotja (Lleida-Spain) on 27st and 28nd October 2011.
Authors are required to bring unmounted images for their portfolio printed in 30x40cm size (the organization will provide a box and folder with which to show the works). They may attach all the material they think they will need to complete their portfolio.

There will be a physical space to display their work to the followers as well as the general public, while they will compete for the different awards associated with the activity of the Patio of the Llotja.
Rights of participation: € 79

The authors selected to participate in El Pati de la Llotja are required to pay € 79 at the festival by way of participation fees. This amount must be paid into the account of the festival no later than 7 days after the selection is announced. The amount does not include accommodation, subsistence or travel, which will be borne by each author.

 .

More details: http://www.elpatidelallotja.org/eng/Awards-and-calls

 .

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Guest editors: Paul Goodwin & Lúcia Marques

 .

One of the most striking aspects of the globalization of the art world is the massive increase in interest in the work of contemporary African artists. This has been reflected in the spectacularly enhanced presence of African artists in global Biennial exhibitions, museum collections and in commercial galleries and art fairs. The tremendous growth of interest in contemporary African art has been matched by a deluge of scholarly texts, journals and books dedicated to this subject such as the important, encyclopedic collection ‘Contemporary African Art Since 1980’ by Okwui Enwezor and Chika Okeke-Agulu (2009, Damiani Press).

 .

However on closer inspection it is apparent that the geographies of African art presented in these studies is skewed towards an Anglophone (and Francophone to a lesser extent) perspective of ‘contemporary African art’. In particular ‘Lusophone’ Africa is poorly represented if at all. Although there are several Lusophone artists in Enwezor and Okeke-Agulu’s anthology, there is no analysis of the specific context of Lusophone African art production in the text. ‘Lusophone’ is not even mentioned in the index. This absence or neglect is, in fact, quite common in presentations of contemporary African art in the English speaking world. This lacuna is one of principal rationales driving this Special Issue of Third Text.

 .

We start with a question that is simple in appearance but tellingly complex at the same time: What is contemporary Lusophone African art? Under question here are a number of key terms that need to be unpacked if we are to address this issue in a critical and challenging way: ‘contemporary’, ‘Lusophone’, ‘African’ and ‘art’. Each term is contested territory in its own right but in bringing them together within an interrogative form we are striving to open up a discursive platform in which these complex terms can be debated, critiqued and repositioned. For example, so-called ‘Lusophone Africa’ is not a seamless whole. It includes a variety of countries each with very different social, political and cultural histories. In acknowledging this complexity, it is the hope of the editors that a significant gap in the geography of knowledge production of contemporary African art can begin to be addressed and in turn generate more research and debate across language and cultural borders.

 .

Contributors to this special issue of Third Text are invited to present papers and book reviews that address this question: ‘What is contemporary Lusophone African Art?’. By questioning the label of ‘contemporary Lusophone African Art’ we intend to gather a number of manuscripts that can debate the existence of an artistic production with a circumscription mainly related to a colonial language heritage.

 .

This geographical focus which relates to the international circulation of young artists coming from Portuguese-speaking African countries will be the starting point to question the on going mapping of ‘Lusophony’, ‘Francophony’, ‘Anglophony’ by ex-colonial powers under the pretext of ‘shared’ languages and cultures. This is frequently seen either as ‘neo-colonial’ appropriation by institutionalised powers (especially in political events), or as a strategic entry point into the international artistic circuits that some artists can take advantage of.

 .

In this sense, a reflection about ‘contemporary Lusophone African Art’ in a post-colonial context should also stimulate a variety of studies by authors beyond the ‘Lusophone’ cartography, encouraging perspectives from the various ‘Africas’. We call for contributions which favour a transdisciplinary approach, including comparative studies, giving priority to those which, under a theoretical or empirical perspective, question the conceptual bases, the possibilities, the limits and the borders of ‘contemporary Lusophone African Art’.

 .

The following are some themes and questions suggested by the editors to be addressed by potential contributors. These suggestions arise from the editor’s research and discussion and are by no means exhaustive:

1) Does ‘contemporary Lusophone African Art’ exist?

2) (De)construction of African Identities through artistic expressions

3) The role of art as interface between trends and imported cultural models

4) Art and political intervention

5) Artistic responses to war, conflict an armed struggle: the relationship of artistic production to independence movements

6) Notions of diaspora, ‘race’ and national identity. Is there a Lusophone ‘South Atlantic’ that links Africa, Brazil and Portugal that is analogous to Paul Gilroy’s ‘Black Atlantic’?

7) Rise of biennials and triennials (eg. Luanda Trienniale). How does ‘Europe’ contribute to the project of ‘African Art’ in Lusophone contexts?

 .

This special issue invites contributions, not exceeding 6000 words in length, from artists, art historians, theoreticians and intellectuals interested in exploring through original manuscripts any of the issues pertaining to ‘What is Contemporary Lusophone African Art?’. The authors’ names and corresponding bibliographic references (500 characters max.) must be included in the document’s title page, which must also have the authors’ institution. The submitted manuscripts must be accompanied by five keywords and when preparing the manuscripts, authors must observe the formatting and the submission regulations of Third Text journal (available at http://www.thirdtext.com/authors-guidelines/). Manuscripts must be submitted in English. In exceptional circumstances only we may be able to provide some help for translation of texts.

Abstracts written in English, (500 words max.) including the manuscript’s title, should be sent by email attachment no later than 21st July 2011 to the Guest Editors Paul Goodwin & Lúcia Marques at goodwinandmarques@gmail.com (upon acceptance, final papers are due by 1st February 2012).

 .

The Editors:

Paul Goodwin is a curator, urban theorist and researcher. He is an Associate Research Fellow at the Centre for Urban and Community Research, Goldsmiths College and Curator of Contemporary Art at Tate Britain.

Lúcia Marques is a Lisbon based independent curator. She is President of XEREM cultural association (Triangle Network) and a member of AICA-International Association of Art Critics.

 .

 .

 .

Guest editors: Paul Goodwin & Lúcia Marques

 .

One of the most striking aspects of the globalization of the art world is the massive increase in interest in the work of contemporary African artists. This has been reflected in the spectacularly enhanced presence of African artists in global Biennial exhibitions, museum collections and in commercial galleries and art fairs. The tremendous growth of interest in contemporary African art has been matched by a deluge of scholarly texts, journals and books dedicated to this subject such as the important, encyclopedic collection ‘Contemporary African Art Since 1980’ by Okwui Enwezor and Chika Okeke-Agulu (2009, Damiani Press).

 .

However on closer inspection it is apparent that the geographies of African art presented in these studies is skewed towards an Anglophone (and Francophone to a lesser extent) perspective of ‘contemporary African art’. In particular ‘Lusophone’ Africa is poorly represented if at all. Although there are several Lusophone artists in Enwezor and Okeke-Agulu’s anthology, there is no analysis of the specific context of Lusophone African art production in the text. ‘Lusophone’ is not even mentioned in the index. This absence or neglect is, in fact, quite common in presentations of contemporary African art in the English speaking world. This lacuna is one of principal rationales driving this Special Issue of Third Text.

 .

We start with a question that is simple in appearance but tellingly complex at the same time: What is contemporary Lusophone African art? Under question here are a number of key terms that need to be unpacked if we are to address this issue in a critical and challenging way: ‘contemporary’, ‘Lusophone’, ‘African’ and ‘art’. Each term is contested territory in its own right but in bringing them together within an interrogative form we are striving to open up a discursive platform in which these complex terms can be debated, critiqued and repositioned. For example, so-called ‘Lusophone Africa’ is not a seamless whole. It includes a variety of countries each with very different social, political and cultural histories. In acknowledging this complexity, it is the hope of the editors that a significant gap in the geography of knowledge production of contemporary African art can begin to be addressed and in turn generate more research and debate across language and cultural borders.

 .

Contributors to this special issue of Third Text are invited to present papers and book reviews that address this question: ‘What is contemporary Lusophone African Art?’. By questioning the label of ‘contemporary Lusophone African Art’ we intend to gather a number of manuscripts that can debate the existence of an artistic production with a circumscription mainly related to a colonial language heritage.

 .

This geographical focus which relates to the international circulation of young artists coming from Portuguese-speaking African countries will be the starting point to question the on going mapping of ‘Lusophony’, ‘Francophony’, ‘Anglophony’ by ex-colonial powers under the pretext of ‘shared’ languages and cultures. This is frequently seen either as ‘neo-colonial’ appropriation by institutionalised powers (especially in political events), or as a strategic entry point into the international artistic circuits that some artists can take advantage of.

 .

In this sense, a reflection about ‘contemporary Lusophone African Art’ in a post-colonial context should also stimulate a variety of studies by authors beyond the ‘Lusophone’ cartography, encouraging perspectives from the various ‘Africas’. We call for contributions which favour a transdisciplinary approach, including comparative studies, giving priority to those which, under a theoretical or empirical perspective, question the conceptual bases, the possibilities, the limits and the borders of ‘contemporary Lusophone African Art’.

 .

The following are some themes and questions suggested by the editors to be addressed by potential contributors. These suggestions arise from the editor’s research and discussion and are by no means exhaustive:

1) Does ‘contemporary Lusophone African Art’ exist?

2) (De)construction of African Identities through artistic expressions

3) The role of art as interface between trends and imported cultural models

4) Art and political intervention

5) Artistic responses to war, conflict an armed struggle: the relationship of artistic production to independence movements

6) Notions of diaspora, ‘race’ and national identity. Is there a Lusophone ‘South Atlantic’ that links Africa, Brazil and Portugal that is analogous to Paul Gilroy’s ‘Black Atlantic’?

7) Rise of biennials and triennials (eg. Luanda Trienniale). How does ‘Europe’ contribute to the project of ‘African Art’ in Lusophone contexts?

 .

This special issue invites contributions, not exceeding 6000 words in length, from artists, art historians, theoreticians and intellectuals interested in exploring through original manuscripts any of the issues pertaining to ‘What is Contemporary Lusophone African Art?’. The authors’ names and corresponding bibliographic references (500 characters max.) must be included in the document’s title page, which must also have the authors’ institution. The submitted manuscripts must be accompanied by five keywords and when preparing the manuscripts, authors must observe the formatting and the submission regulations of Third Text journal (available at http://www.thirdtext.com/authors-guidelines/). Manuscripts must be submitted in English. In exceptional circumstances only we may be able to provide some help for translation of texts.

Abstracts written in English, (500 words max.) including the manuscript’s title, should be sent by email attachment no later than 21st July 2011 to the Guest Editors Paul Goodwin & Lúcia Marques at goodwinandmarques@gmail.com (upon acceptance, final papers are due by 1st February 2012).

 .

The Editors:

Paul Goodwin is a curator, urban theorist and researcher. He is an Associate Research Fellow at the Centre for Urban and Community Research, Goldsmiths College and Curator of Contemporary Art at Tate Britain.

Lúcia Marques is a Lisbon based independent curator. She is President of XEREM cultural association (Triangle Network) and a member of AICA-International Association of Art Critics.

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Para estudiantes de fotografia, arte y/o comunicación.
Emergent-Lleida. Festival Internacional de Fotografía y Artes Visuales

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Con el objetivo de estimular la creación fotográfica más innovadora entre los nuevos creadores y publicar su obra, el Institut d’Estudis Ilerdencs y EMERGENT-LLEIDA convocan públicamente la 3ª edición del programa eCREA destinado a proyectos de creación artística que tengan una base fotográfica.

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¿Quién puede optar?
Alumnos matriculados en las escuelas y/o universidades de fotografía, audiovisuales, comunicación o de Bellas Artes adscritas en cualquier país europeo.

Se admitirán alumnos mayores de edad pertenecientes a los cursos 2009/2010 y 2010/2011.

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El Premio: Exposición y publicación
De todos los porfolios presentados el jurado escogerá  cuatro que configurarán la exposición colectiva eCREA en el marco de la programación EMERGENT 2011.

Al mismo tiempo, estos trabajos se editarán en el tercer volúmen del libro perteneciente a la colección editorial eCREA.

La exposición se inaugurará y el libro será presentado en un acto público el día 26 de octubre de 2011 en la Sala Gótica del Institut d’Estudis Ilerdencs (IEI).

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Los trabajos
Habrá que presentar un proyecto fotográfico sin ningún límite, ni en el tema, ni en la técnica, ni en la manera cómo se presenten las obras. El jurado valorará la creatividad, y el riesgo de la propuesta y, por lo tanto, todos aquellos aspectos que supongan una aportación de calidad e innovación tanto con respecto a la temática en sí, como en la manera de presentar el trabajo en el marco de la exposición eCREA.

Las fotografías se enviarán en formato digital a través de la web del festival. Los requerimientos técnicos para enviar las fotografías y los formularios de inscripción  los encontraréis en la web. Junto con las obras y también a través de la web se tendrá que presentarse una copia digitalizada del DNI o pasaporte y un recibo digitalizado o matrícula de la escuela en la que estudiáis.

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Cada autor podrá presentar un único proyecto.

El autor dispondrá de los permisos necesarios para exponer públicamente su obra, en caso de que intervengan personas o edificios que así lo requieran eximiendo de cualquier responsabilidad a la organización de EMERGENT o al IEI.

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El Jurado
Estará formado por Cristina Zelich (comisaria independiente) y Anselm Ros (Comisario del IEI). Su veredicto será inapelable.

Comunicación de los ganadores
Los nombres serán publicados en la web de EMERGENT el día 24 de julio de 2011.

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Sobre la producción de la exposición y edición del libro
Los ganadores facilitarán a la organización los archivos digitales o los negativos originales para producir la exposición y el libro.

La producción irá a cargo del Institut d’Estudis Ilerdencs de Lleida.

Una vez finalizada la exposición se enviará a los autores las obras producidas.

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Recepción de propuestas
El plazo máximo de entrega de las propuestas será el día 26 de junio de 2011 a las 24.00 horas. Una vez finalizado el plazo de admisión se desactivará el acceso al envío de fotografías.

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Consideraciones finales
Los autores seleccionados autorizarán a EMERGENT-LLEIDA y al Institut d’Estudis Ilerdencs a publicar su obra con el objetivo de hacer difusión y/o publicidad tanto del artista, de su obra, como del festival.

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Más información:
Web del festival: http://www.emergent-lleida.org
Web del festival: http://www.elpatidelallotja.org
Web eCREA http://www.emergent-lleida.org//es/Premis
Bog del festival: http://www.emergent-lleida.org/blog/

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Para estudiantes de fotografia, arte y/o comunicación.
Emergent-Lleida. Festival Internacional de Fotografía y Artes Visuales

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Con el objetivo de estimular la creación fotográfica más innovadora entre los nuevos creadores y publicar su obra, el Institut d’Estudis Ilerdencs y EMERGENT-LLEIDA convocan públicamente la 3ª edición del programa eCREA destinado a proyectos de creación artística que tengan una base fotográfica.

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¿Quién puede optar?
Alumnos matriculados en las escuelas y/o universidades de fotografía, audiovisuales, comunicación o de Bellas Artes adscritas en cualquier país europeo.

Se admitirán alumnos mayores de edad pertenecientes a los cursos 2009/2010 y 2010/2011.

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El Premio: Exposición y publicación
De todos los porfolios presentados el jurado escogerá cuatro que configurarán la exposición colectiva eCREA en el marco de la programación EMERGENT 2011.

Al mismo tiempo, estos trabajos se editarán en el tercer volúmen del libro perteneciente a la colección editorial eCREA.

La exposición se inaugurará y el libro será presentado en un acto público el día 26 de octubre de 2011 en la Sala Gótica del Institut d’Estudis Ilerdencs (IEI).

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Los trabajos
Habrá que presentar un proyecto fotográfico sin ningún límite, ni en el tema, ni en la técnica, ni en la manera cómo se presenten las obras. El jurado valorará la creatividad, y el riesgo de la propuesta y, por lo tanto, todos aquellos aspectos que supongan una aportación de calidad e innovación tanto con respecto a la temática en sí, como en la manera de presentar el trabajo en el marco de la exposición eCREA.

Las fotografías se enviarán en formato digital a través de la web del festival. Los requerimientos técnicos para enviar las fotografías y los formularios de inscripción los encontraréis en la web. Junto con las obras y también a través de la web se tendrá que presentarse una copia digitalizada del DNI o pasaporte y un recibo digitalizado o matrícula de la escuela en la que estudiáis.

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Cada autor podrá presentar un único proyecto.

El autor dispondrá de los permisos necesarios para exponer públicamente su obra, en caso de que intervengan personas o edificios que así lo requieran eximiendo de cualquier responsabilidad a la organización de EMERGENT o al IEI.

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El Jurado
Estará formado por Cristina Zelich (comisaria independiente) y Anselm Ros (Comisario del IEI). Su veredicto será inapelable.

Comunicación de los ganadores
Los nombres serán publicados en la web de EMERGENT el día 24 de julio de 2011.

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Sobre la producción de la exposición y edición del libro
Los ganadores facilitarán a la organización los archivos digitales o los negativos originales para producir la exposición y el libro.

La producción irá a cargo del Institut d’Estudis Ilerdencs de Lleida.

Una vez finalizada la exposición se enviará a los autores las obras producidas.

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Recepción de propuestas
El plazo máximo de entrega de las propuestas será el día 26 de junio de 2011 a las 24.00 horas. Una vez finalizado el plazo de admisión se desactivará el acceso al envío de fotografías.

 .

Consideraciones finales
Los autores seleccionados autorizarán a EMERGENT-LLEIDA y al Institut d’Estudis Ilerdencs a publicar su obra con el objetivo de hacer difusión y/o publicidad tanto del artista, de su obra, como del festival.

 .

Más información:
Web del festival: http://www.emergent-lleida.org
Web del festival: http://www.elpatidelallotja.org
Web eCREA http://www.emergent-lleida.org//es/Premis
Bog del festival: http://www.emergent-lleida.org/blog/

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Berlinerpool internship

project: berlinerpool

position held: project management assistant

duration: 3-6 months

financing: we support the applications to grant giving organisations, no direct financing

intern profile
– student/ academic background/ work experience: art; art history; culture management

– language skills: proficiency in English (necessary); German (preferable)

 .

Internship description
• artists mobile archive:

– maintaining and updating the archive and database

– communication with members

• online profiles on berlinerpool.de:

– updating

– editing

– communication with members

• video archive:

– indexing videos

– communication with members

• presentation:

– presenting the mobile archive to visitors

• project management:

– conducting research on possible locations to exhibit the mobile archive

– assisting in the planning and realisation of thematic events using the mobile archive as a research tool

– assisting in the organisation of: screenings, discussions, artist talks

• networking and training:

– attending art openings, seminars, conferences, workshops, training courses and study visits

 .

How to apply

Please email your CV and a covering letter to Andrzej Raszyk raszyk@berlinerpool.de

subject: berlinerpool internship

Deadline: 5th June 2011

Interviews (via skype): 6th – 7th June 2011

Start date: week commencing 18th July 2011

http://www.berlinerpool.de/?menu=8&id=72

 .

mondaynews internship

project: mondaynews

position held: project management assistant

duration: 3-6 months

financing: we support the applications to grant giving organisations, no direct financing

intern profile

– student/ academic background/ work experience: art; art history; culture management

– language skills: proficiency in English (necessary); German (preferable)

internship description

• online platform – mondaynews.net:

– updating news and calls

– editing

• art spaces research:

– conducting research on art spaces and updating databases

– contacting new art spaces

– visiting new art spaces

• project management:

– conducting research on funding opportunities for art initiatives

– conducting research on art events and funding and opportunities for artists and initiatives

– assisting in the organisation of screenings, discussions, artist talks

• networking and training:

– attending art openings, seminars, conferences, workshops, training courses and study visits

 .

how to apply

Please email your CV and a covering letter to Andrzej Raszyk raszyk@berlinerpool.de

subject: mondaynews internship

Deadline: 5th June 2011

Interviews (via skype): 6th – 7th June 2011

Start date: week commencing 18th July 2011

http://www.mondaynews.net/?menu=5&id=99

 

 .

 .

Berlinerpool internship

project: berlinerpool

position held: project management assistant

duration: 3-6 months

financing: we support the applications to grant giving organisations, no direct financing

intern profile
– student/ academic background/ work experience: art; art history; culture management

– language skills: proficiency in English (necessary); German (preferable)

 .

Internship description
• artists mobile archive:

– maintaining and updating the archive and database

– communication with members

• online profiles on berlinerpool.de:

– updating

– editing

– communication with members

• video archive:

– indexing videos

– communication with members

• presentation:

– presenting the mobile archive to visitors

• project management:

– conducting research on possible locations to exhibit the mobile archive

– assisting in the planning and realisation of thematic events using the mobile archive as a research tool

– assisting in the organisation of: screenings, discussions, artist talks

• networking and training:

– attending art openings, seminars, conferences, workshops, training courses and study visits

 .

How to apply

Please email your CV and a covering letter to Andrzej Raszyk raszyk@berlinerpool.de

subject: berlinerpool internship

Deadline: 5th June 2011

Interviews (via skype): 6th – 7th June 2011

Start date: week commencing 18th July 2011

http://www.berlinerpool.de/?menu=8&id=72

 .

mondaynews internship

project: mondaynews

position held: project management assistant

duration: 3-6 months

financing: we support the applications to grant giving organisations, no direct financing

intern profile

– student/ academic background/ work experience: art; art history; culture management

– language skills: proficiency in English (necessary); German (preferable)

internship description

• online platform – mondaynews.net:

– updating news and calls

– editing

• art spaces research:

– conducting research on art spaces and updating databases

– contacting new art spaces

– visiting new art spaces

• project management:

– conducting research on funding opportunities for art initiatives

– conducting research on art events and funding and opportunities for artists and initiatives

– assisting in the organisation of screenings, discussions, artist talks

• networking and training:

– attending art openings, seminars, conferences, workshops, training courses and study visits

 .

how to apply

Please email your CV and a covering letter to Andrzej Raszyk raszyk@berlinerpool.de

subject: mondaynews internship

Deadline: 5th June 2011

Interviews (via skype): 6th – 7th June 2011

Start date: week commencing 18th July 2011

http://www.mondaynews.net/?menu=5&id=99

 

 .

 .

Intercult is trying out a new residency format. Deadline for the open call for Autumn residencies at BaseCamp Stockholm is 20 May.

 .BaseCamp Stockholm supports the exploration and development of new work in contemporary arts practice, with focus on emerging ideas and start-up processes during a 3-6 weeks residence format. The residency invites artists, producers and curators to develop cutting-edge projects with an international perspective.

BaseCamp Stockholm focuses on the research and creative “process”, not regarding final presentation as a goal. However we expect that the research /project is open to sharing the process in at least one public event during the residency program.

The program welcomes collective applications by mixed teams of maximum 3 persons, formed by artists, producers or curators, that develop a cross-disciplinary creative process. Individual applications are also welcome.

BaseCamp Stockholm will provide consultations on content development and project funding and assist with references and contacts in Stockholm and Sweden, all tailor made to the project. Accommodation, an office and an equipped studio is also provided. The participation fee is 300 €/week per project.

 .

More details here (+)

 .

Intercult is trying out a new residency format. Deadline for the open call for Autumn residencies at BaseCamp Stockholm is 20 May.

 .BaseCamp Stockholm supports the exploration and development of new work in contemporary arts practice, with focus on emerging ideas and start-up processes during a 3-6 weeks residence format. The residency invites artists, producers and curators to develop cutting-edge projects with an international perspective.

BaseCamp Stockholm focuses on the research and creative “process”, not regarding final presentation as a goal. However we expect that the research /project is open to sharing the process in at least one public event during the residency program.

The program welcomes collective applications by mixed teams of maximum 3 persons, formed by artists, producers or curators, that develop a cross-disciplinary creative process. Individual applications are also welcome.

BaseCamp Stockholm will provide consultations on content development and project funding and assist with references and contacts in Stockholm and Sweden, all tailor made to the project. Accommodation, an office and an equipped studio is also provided. The participation fee is 300 €/week per project.

 .

More details here (+)

 .