La Liste présente les événements des membres de l’Association des groupes en arts visuels francophones (AGAVF), soit quinze centres d’artistes et galeries à travers le Canada, et compile les appels de dossiers en arts visuels, arts médiatiques, performance, art public, résidences qui s’adressent aux artistes et aux commissaires.

Œuvre de Denise Comeau présentée par Le Trécarré dans l’exposition de groupe Isolement

 

Nouvelle de l’AGAVF


Avec LE LIEN, l’AGAVF veut renforcer le réseautage de ses membres et leur rayonnement auprès des partenaires et collaborateurs du secteur.  Ainsi, il partagera les bons coups et les bonnes pratiques des membres et des partenaires, présentera des portraits ou entretiens d’artistes, de commissaires ou d’organismes et abordera les dossiers de l’heure du point de vue des arts visuels des communautés francophones.

Consultez Le Lien No1 

 

 

Programmation des membres de l’AGAVF

Le Trécarré (Pointe-de-l’Église)

Nadine Belliveau, Nadine Blinn, Zita Boudreau, Angélina Comeau, Annette Comeau, Denise Comeau, Noella DeMille, Alain Philippe Gérard, Jay LeBlanc, Mona McDonald, Diane Nadon, Isao Sanami-Murrill, Dany Sheehy, Dianne Surette, Jan Swaren, Claude Edwin TheriaultIsolement
jusqu’en février 2021
Université Sainte-Anne, Nouvelle-Écosse
www.rendezvousdelabaie.ca/galerie-dart

 

Galerie d’art Louise-et-Reuben-Cohen (Moncton)

Daniel H. Dugas et Valerie LeBlancHabitat
Commissaire : Jonathan Lamy
Présenté dans le cadre du Volet arts médiatiques
du Festival international du cinéma francophone en Acadie
du 6 novembre au 20 décembre 2020
Université de Moncton
Moncton, Nouveau-Brunswick
www.umoncton.ca/umcm-ga 

 

Centre d’artistes Voix Visuelle (Ottawa)

J. Aird-Bélanger, A. Asselin, R. Aubin, M. Barti, J. Bertrand, B. Bogart, C. Boucher, Csaba, R. Chevalier, C. Cooper, L. Daigle, C. Dallaire, M. Des Aulniers, A. Dworzak-Subocz, L. Finet, P. Franzini, C. Gendron, D. Gérin, V. Goddard, O. Golub, F. Ikonomidou, R. Kempen, I. Kobayashi, D. Krasi, D. Lamontagne, M. Le Bohec, D. Leclerc, M. Manu, M. Márquez, E. Montenegro, J. Muscat, A. Paquin, M. Périat, O. Petca, Y. Porlier, H. Pouillon, R. Robesco,  N. Ross, S. Rossen, S. Swinimer, V. Tytor, G. Vallée, J. M. Van Hees, P. Walty – L’intelligence artificielle
en novembre 2020
67, avenue Beechwood
Vanier, Ontario
www.voixvisuelle.ca

 

Galerie Sans Nom (Moncton)

Caitlin Wilson – Finding Trees
JD Cool – Sans titre
jusqu’au 19 février 2021
140, rue Botsford, local 16
Moncton, Nouveau-Brunswick
www.galeriesansnom.org

 

Constellation bleue-Galerie Bernard-Jean (Caraquet)

Danielle Saulnier et Serge V. RichardOsmose et Magie intime
du 4 novembre 2020 au 10 janvier 2021
220, boul. Saint-Pierre Ouest
Caraquet, Nouveau-Brunswick
www.constellationbleue.com

 

Centre culturel franco-manitobain (Winnipeg)

JE M’APPELLE HUMAIN Première table ronde FOCUS
avec  Joséphine Bacon et Kim O’Bomsawin
avec la collaboration de Cinémental
mercredi 16 décembre à 19h en ligne
340, boulevard Provencher
Winnipeg, Manitoba
www.ccfm.mb.ca  

 

Le Labo (Toronto)

6 membres sélectionnés au programme “Courts Toujours !” de CineFranco 2020.
Découvrez la sélection des 23 et 25 novembre !

“Court de rattrapage” avec nos 6 membres sélectionnés à CinéFranco :
Valérie Lecomte – https://bit.ly/courtderattrapageValérieLecomte
Julie Lassonde – https://bit.ly/CourtdeRattrapageJulieL
Nicole Blundell – https://bit.ly/CourtderattrappageNicoleBlundell
Quitterie Hervouet – https://bit.ly/CourtdeRattrapageQuitterie
Jean Marc Larivière – https://bit.ly/CourtdeRattrapageJeanMarc

Conversation avec Joseph Bitamba sur le film “Petit Pays” d’Éric Barbier :
https://vimeo.com/481767101

Le Labo est de nouveau recommandataire de l’aide aux expositions du CAO.
Vous avez un projet d’exposition à financer ?
Soumettez votre projet : Aide aux expositions, programme ouvert (2020-2021)

www.lelabo.ca  

 

Galerie du Nouvel-Ontario (Sudbury)

Claude Wittmann Roues/politique/panique
Exposition depuis février 2020
54, rue Elgin
Sudbury, Ontario
www.gn-o.org  

 

COVID-19

Plus de détails.

 

 

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Appels de dossiers

1. appels en français du Canada

Association des centres d’exposition de l’Abitibi-Témiscamingue – 31 janvier
Les p’tites vues -Culture Trois-Rivières – 1er avril
Agence TOPO – MOntréal – 10 janvier
festival MUTEK – Montréal – 31 janvier
Colloque Les Arts et la Ville – 18 décembre
Daïmon – Gatineau – 21 décembre
Culture Trois-Rivières – 1er février

2. appels en anglais du Canada

InterAccess – Toronto – 18 décembre
La Commune – Vancouver – 22 janvier
Eyelevel Gallery – Halifax – 18 janvier
Craft Ontario – Toronto – 7 juin
Video Outs – Vancouver – 28 février
A Handmaid Assembly – Sackville – 5 janvier
COVER ME – Records, Cassettes & Artists – Vancouver – à partir du 21 novembre
BIPOC Artist Instagram Project – en cours
AKA Artist-run Centre – Saskatoon – en cours
Southern Alberta Art Gallery – Lethbridge – en cours

3. appels internationaux

Emergenyc – New York – 8 février
European Media Art Festival – 31 décembre
Video Art Academy 2021 – Clermond-Ferrand – 21 décembre

4. résidences

VU – Québec – 1er février
Studio Residency Program – Brookly – 18 décembre

5. art public

Ville de Moncton – 15 janvier
Gardiner Museum Indigenous Public Artwork – 16 décembre
Gathering and Togertherness – Banff – 6 janvier
Glenora Park Public Art – Edmonton – 21 décembre
Murale sur la façade de l’Institut maritime du Québec – 27 décembre
Monument national LGBTQ2+ – Région de la capital nationale – 5 janvier
L’œuvre d’art commémorative d’Affaires mondiales Canada – Région de la capitale nationale – 16 décembre

6. pour commissaires

Middlebrook Prize for Young Canadian Curators – Guelph – 15 janvier
Public Programs Manager – Canadian Clay & Glass Gallery – Waterloo – 11 décembre
Tenure-Track position in Visual Arts – University of British Columbia, Okanagan Campus, Kelowna – 15 janvier
Esse art + opinion – sportification – 1er avril
Storefront Manitoba – Executive director – 21 décembre
Performance Research – On biopolicitcs – 11 janvier
Inter art actuel – Québec – 15 janvier
A Handmaid Assembly – 5 janvier
Vie des arts – Montréal – 3 janvier
Assistant professor in creative technologies – York University – 15 janvier
Résidence de commissaire – Le Lobe – 11 décembre
Images Festival 2021 – Guest Program – no fixed deadline
À l’est de vos empires – Québec – en cours
Esse art + opinion – Dossier (Re)voir la peinture – 10 janvier 2021
Revue de Paris – appel à contributeurs – en cours

 

1. appels en français du Canada

L’Association des centres d’exposition de l’Abitibi-Témiscamingue (ACEAT) lance son appel conjoint de propositions d’expositions s’adressant aux artistes professionnels en arts visuels et métiers d’art, aux commissaires et institutions qui désirent présenter un projet d’exposition en Abitibi-Témiscamingue.


Le dépôt d’un seul dossier est requis alors que l’ACEAT s’assure de faire le suivi auprès des 4 centres d’exposition d’Amos, La Sarre, Val-d’Or, Ville-Marie et du musée d’art de Rouyn-Noranda.


Votre dossier doit comprendre les documents suivants;
• Vos coordonnées (adresse postale, téléphone et courriel)
• Description détaillée du projet d’exposition (1 page)
• Démarche artistique (1 page)
• Curriculum vitae (3 pages max.)
• Visuel du projet d’exposition et liste descriptive des œuvres en JPG (10 à 20 images max.)
• Dossier de presse numérisé (facultatif-articles majeurs seulement)
• Liste de vos besoins techniques spéciaux (s’il y a lieu)
La date limite pour recevoir les dossiers est le 31 janvier 2021


Faites parvenir votre dossier par WETRANSFER en 1 seul fichier identifié
ACEAT2021 – [VOTRE NOM] à exposition [arobas] amos [point] quebec
Pour info : Marianne Trudel au 819 732-6070 poste 402 ou par courriel
exposition [arobas] amos [point] quebec


Depuis 1980, l’ACEAT constitue un réseau de diffusion professionnel qui regroupe quatre centres d’exposition distincts de l’Abitibi-Témiscamingue reconnus: le Centre d’art Rotary de La Sarre, le Centre d’exposition d’Amos, le Centre d’exposition de Val-d’Or, la Galerie du Rift de Ville-Marie ainsi que le Musée d’art de Rouyn-Noranda.

•••••

LES P’TITES VUES :
APPEL DE FILMS 2021-2022
Culture Trois-Rivières invite les cinéastes et vidéastes professionnels et de la relève à soumettre leur court métrage en vue de la programmation automne 2021 – hiver 2022 de la série Les P’tites vues présentée à l’Espace Pauline-Julien.

Les projections Les P’tites vues ont comme objectif de présenter des films professionnels qui sauront surprendre et émouvoir le public tout en leur faisant découvrir des créateurs talentueux.

Les œuvres devront respecter les conditions suivantes afin d’être admissibles :
Durée qui varie entre 2 et 30 minutes;
Avoir été produites après le 1er janvier 2016;
De langue française ou sous-titrées en français;
Appartenant aux catégories : fiction, documentaire, animation ou film de genre;
N’ayant jamais été présentées dans notre série Les P’tites vues.
Les œuvres à caractère haineux, présentant des images dégradantes ou sexuellement explicites seront automatiquement rejetées.
Le dossier doit inclure :Un synopsis court (3 à 5 lignes);
Une courte biographie du cinéaste/vidéaste (3 à 5 lignes);
Une image tirée du court métrage et le crédit s’y rattachant;
Un lien de visionnement protégé par mot de passe;
Un dossier de presse ou tout autre matériel promotionnel jugé pertinent (facultatif).
Les dossiers sont jugés selon la qualité du court métrage et son potentiel à rejoindre les différentes clientèles de l’Espace Pauline-Julien (enfants et adultes). Les cinéastes/vidéastes sélectionnés reçoivent des redevances conformes aux barèmes de diffusion du CQAM (Conseil québécois des arts médiatiques).
 

Lieu de diffusion dédié aux arts médiatiques, le mandat de l’Espace Pauline-Julien est d’offrir une programmation d’exposition en arts visuels et numériques, des installations immersives ainsi que des projections de courts métrages.
 
DATE LIMITE : 1ER AVRIL 2021
 
Pour information ou pour soumettre un dossier :
 
Catherine Thériault
Responsable du développement en arts médiatiques
819 372-4614, poste 1721
ctheriault [arobas] v3r [point] net *

*Pour les dossiers de plus de 8 MO, nous vous recommandons d’utiliser We Transfer.

•••••

Installations en Vitrine et Art web / TOPO
10 janvier 2021
 
/ Montréal (Québec)
 
TOPO, centre d’artistes montréalais en arts numériques, lance un nouvel appel à projets hybride pour sa programmation 2021-2023. C’est sous le thème de la fluidité que TOPO envisage la série d’expositions, en galerie et en ligne, qui animera sa prochaine saison d’activités à partir de l’automne 2021.

À l’ère de la variabilité exacerbée, la notion de fluidité ouvre des réflexions riches et ouvertes sur l’impermanence des harmonies. Est fluide ce qui s’écoule aisément, sans résistance, mais aussi ce qui est difficile à saisir, à fixer. La fluidité désigne le bon déroulement d’un parcours, sa « limpidité »; elle devient rassurante parce que prévisible et contrôlée, « coulant de source ». Mais tout ce qui se présente dans la stabilité n’est qu’apparence, car celle-ci est soumise à des flux continus d’interactions dynamiques venant de tous côtés.

La notion de fluidité a été mobilisée par différentes disciplines (physique, sociologie, économie, etc.) et offre la plupart du temps des paradoxes contrastants. Le sociologue polonais Zygmunt Bauman a longuement exploré le concept corolaire de « liquidité » pour décrire nos vies et nos villes prises dans des flux incessants de vitesse, en changement et mouvement perpétuels. Si cette fluidité est une menace pour les structures sociales, elle est aussi une opportunité, car elle est synonyme de souplesse. La vie fluide se déforme pour s’adapter à son environnement, elle recompose en permanence ses réseaux, elle est ouverte sur l’extérieur…

En savoir plus

Date limite de soumission : 10 janvier 2021
TOPO
5445, de Gaspé, local 1002
Montréal (Québec) H2T 3B2
+1 514.279.8676
agence [arobas] agencetopo [point] qc [point] ca
http://www.agencetopo.qc.ca

•••••

Nous sommes heureux·ses de lancer l’appel à projets pour la 22e édition du festival MUTEK qui aura lieu une nouvelle fois en mode hybride, depuis Montréal, du 24 au 29 août 2021 ! Les artistes québécois·es et canadien·ne·s qui explorent de nouvelles avenues esthétiques en création numérique et en musiques électroniques sont invité·e·s à nous soumettre leurs candidatures dès à présent.

Ayant comme intention de poursuivre nos initiatives en faveur de la parité et de l’inclusion, notamment avec les projets Amplify D.A.I et Keychange, nous encourageons les soumissions des artistes s’identifiant comme femme ou non binaire, appartenant à une minorité racisée ou aux communautés LGBTQ2+.

Nous sommes particulièrement intéressé·e·s par :Les performances de musiques électroniques en direct inédites
Les performances audiovisuelles numériques novatrices
Les installations (cinétiques, robotiques, interactives ou numériques)
Les performances ou installations créées à l’aide d’intelligence artificielle
Les œuvres de projection (mapping)
Les œuvres interactives, immersives, de réalité étendue (XR) ou faisant appel à toute technologie innovante qui peuvent être présentées à la fois dans un environnement physique et virtuel
Tout autre type de projet qui repousse les limites de la création numérique ou qui propose un concept novateur dans le cadre d’une diffusion en ligne
Pour connaître toutes les modalités et appliquer, veuillez cliquer sur ce lien.
Vous avez jusqu’au 31 janvier 2021 pour soumettre votre projet et rejoindre MUTEK Montréal Édition 22.

+ J’applique maintenant

•••••

Appel à contribution / Colloque annuel Les Arts et la Ville
18 décembre 2020
 
/ Montréal (Québec)
 
Construisons ensemble la programmation du Forum 2021, le premier de la trilogie.

Que vous soyez issu du milieu culturel, municipal, de la santé, communautaire, des affaires, de l’éducation, de la recherche ou que vous vous sentiez interpellé à titre de citoyen, vos idées nous intéressent!

Votre contribution peut, par exemple, être une conférence, un atelier, une table ronde ou un projet présenté sous la forme d’une « affiche scientifique ». Elles pourra inclure plusieurs intervenants. Tout autre type d’animation innovante sera aussi la bienvenue.

Vous avez jusqu’au 18 décembre, à 16 h, pour soumettre votre proposition.

Avant de commencer, assurez-vous d’avoir en main :
– un court résumé de votre contribution (500 mots maximum)
– une courte présentation de l’expérience des intervenants (500 mots maximum)

Votre proposition sera examinée par un jury externe. Celui-ci se concentrera d’abord sur les sujets, les approches et la complémentarité de la programmation. Si votre proposition est acceptée, nous prendrons contact avec vous à compter du 1er février 2021.

Au plaisir de vous retrouver dans la programmation du Forum 2021 pour que nous puissions réfléchir et changer le monde ensemble!

En savoir plus

 

•••••

Œuvre de projection numérique / DAÏMÔN
21 décembre 2020
 
/ Gatineau (Québec)
 
Le Centre de production DAÏMÔN et le Salon du livre de l’Outaouais, lancent un appel aux artistes des milieux des arts littéraires, médiatiques et numériques. Les artistes sont invités à proposer une œuvre de projection numérique mettant en valeur l’univers de la littérature, de la poésie et/ou des mots.

CONTEXTE

À nous la rue, allons lire ensemble dehors ! Du jeudi 25 au dimanche 28 février 2021, le Salon du livre de l’Outaouais (SLO) débarque en ville ! Afin de présenter un Salon innovant et sécuritaire dans le contexte de la pandémie actuelle, l’équipe du SLO propose une formule renouvelée qui investira le centre-ville de Gatineau (Vieux-Hull).

Pour une troisième année consécutive, le Centre de production DAÏMÔN et le Salon du livre de l’Outaouais s’associent à Vision Centre-Ville et au Restaurant Piz’za-za en vue de favoriser la diffusion des arts médiatiques dans l’espace public et contribuer au rayonnement de la littérature au sein de la communauté locale.

CONDITIONS

L’œuvre proposée correspond aux objectifs de l’appel de projet, soit la mise en valeur de la littérature, de la poésie, des mots ;
L’œuvre proposée est une œuvre originale dont les droits sont détenus par l’artiste ou le collectif d’artistes ;
L’œuvre est d’une durée minimale de 5 minutes. Les œuvres narratives doivent être d’une durée maximale de 10 minutes ;
L’œuvre doit être disponible en haute résolution ;
L’œuvre doit être compréhensible en langue française. Au besoin, une œuvre originale dans une autre langue devra être sous-titrée en français ;
L’artiste ou collectif dont l’œuvre sera sélectionnée, recevra une somme forfaitaire de 1800$, comprenant tous les droits de diffusion ainsi que les droits de cession à des fins promotionnelles.
PROPOSEZ VOTRE ŒUVRE

Soumettez votre œuvre, un bref descriptif (max 300 mots) ainsi que votre cv artistique à l’adresse courriel soumission [arobas] daimon [point] qc [point] ca.  Les œuvres doivent être soumises au plus tard le lundi 21 décembre 2020 à 17h00. Pour toute question, n’hésitez pas à contacter notre équipe à l’adresse info [arobas] daimon [point] qc [point] ca.

Daïmõn
78, rue Hanson,
Gatineau (Québec) J8Y 3M5

 

•••••

APPEL DE DOSSIERS 2022-2023
Culture Trois-Rivières invite les artistes professionnels et de la relève, les collectifs d’artistes et les commissaires en art actuel à soumettre un projet d’exposition en vue de la programmation 2022-2023.  Avec deux centres d’expositions, un volet en art public et ses différentes actions sur le territoire, Culture Trois-Rivières travaille activement à susciter l’intérêt pour l’art visuel et à le développer pour qu’il soit dans le quotidien des gens. Contribuant à faire de Trois-Rivières un lieu incontournable pour le développement des arts visuels, ces lieux d’exposition permettent à la population de découvrir gratuitement et d’apprécier le talent d’artistes d’ici et d’ailleurs, professionnels et de la relève.
Le dossier doit inclure :Démarche artistique;
Description détaillée du projet d’exposition;
Documentation visuelle1 avec description (10 à 15 images);
Curriculum vitae à jour ou présentation du collectif;
Dossier de presse.
1 La documentation visuelle fournie n’a pas obligatoirement à présenter les œuvres qui seront exposées mais doit refléter le caractère du projet d’exposition soumis. 

Les dossiers sont jugés selon la qualité et la pertinence de la démarche artistique et du projet proposé en regard de la programmation annuelle. Les artistes sélectionnés reçoivent des redevances conformes aux recommandations du CARFAC (droits d’exposition, droits d’auteur, etc.)
 

Situé en plein cœur du centre-ville, le Centre d’exposition Raymond-Lasnier est une composante importante de la Maison de la culture de Trois-Rivières.  Son mandat est de présenter des productions d’artistes professionnels et de la relève d’ici et d’ailleurs, des expositions thématiques, collectives et événementielles, tout en favorisant les apprentissages par des activités qui démystifient l’art contemporain et actuel. 
 

L’Espace Pauline-Julien est un espace de diffusion dédié aux arts visuels et médiatiques.  Son mandat est d’offrir une programmation en arts visuels et numériques ainsi que des projections (courts métrages et films sur l’art). 
 
DATE LIMITE : 1ER FÉVRIER 2021
 
Pour information ou pour soumettre un dossier :

Marie-Eve Bérubé,
responsable des expositions en arts visuels
819 372-4614, poste 1621
artsvisuelsc3r [arobas] v3r [point] net *

*Pour les dossiers de plus de 8 MO, nous vous recommandons d’utiliser We Transfer.

 

 

 

 

 

 

 

 

 

2. appels en anglais du Canada

InterAccess [virtual exhibition] | PLUG IN & EXIST | DEC 18


Curated by Dana Snow and Sean Sandusky

Deadline: December 18, 2020 (11:59PM EST)

This virtual exhibition seeks to intersect queer life and online presence through new
media art.

In the wake of COVID-19, the 2SLGBTQIA+ community has witnessed a shuttering of
physical spaces for queer and trans people to create meaningful work, spark
discourse, find connection and foster the irrevocable togetherness of queer and trans
solidarity. In an accelerated trajectory of closures, queer art returns to the space that
has always seemed like a home to us: the internet. Internet art holds a special place
for trans folks and queer folks as a tool of resistance and expression. As two queer
curators, we are drawn back to early memories of where
we first found ourselves
online: subcultural political posts and re-blogged GIFs on Tumblr, our first Myspace
boyfriend, our intersections and collective feeling explained in meandering LiveJournal
posts.

In popular online spaces today, monetization systems require queer folks to either
radicalize or tokenize themselves to be discoverable within their algorithms. We aim to
revisit a space for queer and trans artists that exists outside of monetization and
advertiser friendly content. In this exhibition, we are imagining an online space built
for queer and trans folks, rather than one that co-opts their aesthetics. We hope to
continue a queer canon of internet-based practices on a virtual platform that supports
2SLGBTQIA+ creators beyond mere representation, fostering a sense of
togetherness in a time of isolation.

We encourage submitting artists to consider the following questions:

How do we communicate online without being run through a database for
monetization?

What does it
look like when 2SLGBTQIA+ creators exist beyond a corporatized idea
of radicalization and tokenization?

What does a platform to discover ourselves through discovering others look like?

What does a platform to fall in love look like?

What does it mean when we take a load off each others shoulders, plug in and exist
unburdened, online?

We are inviting works that utilize virtual space to its fullest, including: webcam
performance; net art; social media practices, including memes, selfie culture, celebrity
icon culture; interactive web-based works; and interdisciplinary practices highlighting
queer culture on the internet.

This exhibition prioritizes 2SLGBTQIA+ artists, especially BIPOC members of the
community.

SUBMISSION REQUIREMENTS

Project description (250 words)

Artist statement (250 words)

Documentation (maximum five images and one video; please provide URLs)

Detailed description of technical requirements (please outline materials provided by
the artist and materials
expected from InterAccess)

Current CV (3 pages maximum)

Artist biography (100 words)

Please submit your application using our online application form. If you have questions
about applying, please contact iacurrent [arobas] interaccess [point] org.

EXHIBITION DETAILS

This exhibition will take place online from February 24 ” March 27, 2021

Selected artists will be notified in January 2021

All artworks must be ready for exhibition by January 22, 2021

All participating artists will receive a CARFAC fee

ABOUT IA CURRENT

The InterAccess Current (IA Current) program supports the professional development
of emerging curators and artists interested in new media and electronic practices. Each
year, InterAccess selects an emerging curator, who works closely with InterAccess staff
to conceptualize and execute an exhibition of works by emerging artists. Current
refers to the now, of course, but it is also an energetic charge that causes light, heat
and all manner of electronic life; an apt metaphor for
emergent creative practices within
the ever-expanding field of new media.

ABOUT INTERACCESS

Founded in 1983, InterAccess is a non-profit gallery, educational facility, production
studio, and festival dedicated to emerging practices in art and technology. Our
programs support art forms that integrate technology, fostering and supporting the full
cycle of art and artistic practice through education, production, and exhibition.
InterAccess is regarded as a preeminent Canadian arts and technology centre.

Contact
950 Dupont St., Unit 1
Toronto ON M6H 1Z2
416-532-0597

interaccess.org
info [arobas] interaccess [point] org

•••••

 

British Columbia to create original works in response to a virtual free school, March-June 2021.

LA COMMUNE 2021 is a free school* developed by Roxanne Panchasi, an Associate
Professor of History at Simon Fraser University, and presented by UNIT/PITT. Ten
successful applicants will each be assigned one week of the 10-week program, and asked to create an affiche in their own style ” whether it be visual art, writing, music, video, or other. Each selected artist will receive $500, and the possibility of having their work exhibited when UNIT/PITT reopens a gallery space.

*Free school is a free, independent, and community-based alternative education, born out of the 1960s Free School Movement, and informed by anti-oppressive education and critical pedagogy. LA COMMUNE 2021 will be entirely free and available online. Registration will open in February 2021.

https://www.helenpittgallery.org/

•••••

Major Projects: Call For Submissions
Deadline: January 18th

Join Sally Wolchyn-Raab, Eyelevels Artistic Director for a Zoom info session and Q&A on December 18th at 6PM. Register online at 
https://us02web.zoom.us/webinar/register/WN_WZ6HSErURTCnZgS_jQ2Zkg

We have made some changes to our annual Call For Submissions which are now viewable on our website! http://eyelevel.art/submissions

Eyelevel supports 1-2 Major Projects every year, which are off-site, itinerant (roaming/mobile) and/or time-based projects by emerging and mid-career artists. Major Projects are well-supported programs that are made possible by project grants. In addition to artist fees above CARFAC minimums, Eyelevel provides additional support such as travel, childcare, material costs, space in one of our studios and other artist needs. These projects are larger in scale and include interpretive/engagement activities such as commissioned writing, workshops, community art builds and artist talks.


Artists applying for a Major Project are encouraged to think in-depth about how they want to be supported by Eyelevel, and consider additional public activities to make their proposed project as inviting and accessible as possible.  

Eyelevel does not operate a formal gallery space, applications for Major Projects should consider our model of programming from an artistic and logistical standpoint. Eyelevel programs 1-2 years in advance, with all major projects occurring between June and November.


Applications for Major Projects are accepted from artists and groups at all stages of their careers who meet Canada Council’s definition of a professional artist – joint/group applications or guest curatorial applications will also be considered.



***

HOW TO APPLY:
Eyelevel accepts applications to Major Projects in multiple formats. Our preference is for artists to apply with the google form. Proposals can also be emailed to Eyelevel in written, audio or video form, and pitched to Eyelevel in the form of a zoom interview, which will be recorded for the jury. 

To apply online: 
Fill out the google form, and follow instructions on how to submit your support material. https://forms.gle/FAN9qj68e4RuNqry9

To schedule a zoom pitch: 
Contact Sally Wolchyn-Raab, Eyelevel’s Artistic Director at director [arobas] eyelevel [point] art or call or text Eyelevel’s cell phone at 902-425-6412 to schedule a time for a 30-minute pitch of your ideas. Please schedule this time before the deadline (Jan 18).

To email your application: 
Email the following items to director [arobas] eyelevel [point] art with the subject line “2021 Major Project Submission”
A written proposal as a .doc or .pdf file – Important: instead of a classic artist statement/project proposal, please respond to the prompts below.

Maximum 8 items of support material (audio, video, images). Please make sure that all of your support material is compatible with MacOSX. Large files can be submitted through WeTransfer, a shared google drive or dropbox folder, or included as a link to a streaming platform such as SoundCloud, Vimeo or YouTube. Title all files with your name in the order you want them viewed (ie: 01YourName.jpg)

A support material inventory as a .doc or .pdf file. An inventory is a list of all of the files that you are sending us in order and should include all relevant information to help the jury understand your work. This can be the title of the work, the year it was made, any collaborators, location, dimensions, materials etc. What you include in your inventory is up to you. Any YouTube, Soundcloud or Vimeo links can be included here. 


A website, blog or social media account can be submitted in lieu of support material. In this case, please include some instructions for the jury on what to view (and what not to view). 

***

Written Proposal Prompts:
Tell us a little about yourself and your work (max 200 words)

What format(s) does your project take? (residency, presentation, publishing project, workshop, artist talk, etc) Eyelevel welcomes applications for residencies, publishing projects, performances, exhibitions, etc. Applicants should be aware that Eyelevel does not have a white-wall gallery, and borrows a variety of different kinds of spaces for exhibitions and events. We also operate a studio/residency space as well as a bookstore. 

Who is your intended audience?  Do you have any space requirements for this project? If so, what are they?  (200 words max) Eyelevel is mandated to present work in unconventional spaces. Determining suitable spaces varies on the content of your work and can include spaces that are; public, outdoor, indoor, closed, formal, informal, site-specific, etc.

What’s your inspiration for this proposal? (Approximately 250 words max) We encourage work that stems from lived experiences. 

What is the current stage of your ideas? What work (if any) will you need to do in order to complete your proposed project?  (Approximately 250 words max) Your proposal can include work that is not yet started, completed, and anywhere in-between. 

Do you require any support from Eyelevel in the creation/execution of your project? If so, please explain? (100 words max) Eyelevel is able to provide support in various methods such as finding and booking venues, providing studio space, production budgets, access to special equipment or mentorship and facilitation. 

Are you interested in being considered for group projects or other programs such as HEAT WAVES?    
Is there any other information you wish to share to support your proposal? If so, please use this space (200 words max)

We welcome questions! Reach out to Eyelevel’s Artistic Director, Sally Wolchyn-Raab at director [arobas] eyelevel [point] art or 902-425-6412

•••••

Proposals for the 2022 Exhibition Season
Craft Ontario, Toronto

Deadline: June 7, 2021

Inviting proposals in all craft media by active Craft Professional Members at any stage of their careers, for solo and two-person exhibitions at the Craft Ontario Gallery in 2022.

Read more

•••••

VIDEO OUT CALL FOR SUBMISSIONS: Inter- Multi- Trans-
CALL FOR SUBMISSIONS
DEADLINE: Sunday, Feb 28, 2021
FREE

Three prefixes that are open to and overlap in any number of
concepts. For Video Outs
latest thematic call-for-submissions, Inter- Multi- Trans- invites works that are conceived
through more than one focal point, whether in content, context, and/or presentation. How
can one mediate plural perspectives? What can we find in between these perspectives?
Where do we intersect and where do we fall short?

To submit, please send a weblink of the work (Wetransfers not accepted), a short
synopsis, and an artist bio to distribution [arobas] vivomediaarts [point] com. Digital (including digitized
film) submissions only, maximum two submissions per artist. Video Out accepts works for
screen, installation, and web-based contexts. Selected works will be presented in a
program in Spring 2021, and added to Video Outs distribution collection.

Send your submission with the subject: Inter-Multi-Trans-LastName by February 28th,
2021.
https://www.vivomediaarts.com/news/video-out-call-submissions-inter-multi-trans

•••••

A Handmade Assembly
We invite Artists and Writers from across Canada and abroad to submit proposals for an upcoming publication exploring the theme of the Handmade.

Deadline for submissions: January 5, 2021

The origins of this publication are rooted in a long-running annual event hosted by Struts Gallery and the Owens Art Gallery that brought together artists, curators, and makers from the region and beyond to lead discussions, facilitate workshops, initiate projects, exhibit work, and share in a common thread—the handmade.

A Handmade Assembly originated in response to an increased interest in the handmade, deskilling, and DIY aesthetics that emerged in contemporary art practices near the beginning of the decade. The topic continues to appeal to artists exploring the extraordinary potential of craft processes, materials, and techniques, both for their capacity to speak directly and viscerally and for their political and historical potency.

For its tenth and final iteration, the long-running programme will be re-envisioned as an ambitious, bilingual book project that parlays nine years’ worth of inquiry into a comprehensive volume, with the goal of providing a multi-faceted view of the role of the handmade in contemporary art, while also extending these discussions to a new format.


CALL FOR PROPOSALS: Artists Projects in Print
Deadline: January 5, 2021

A Handmade Assembly has always encompassed a wide range of artistic practices and areas of research, including photography, performance, mending practices, food culture, collage, printmaking, flower arranging, and the intersection of new technologies with traditional craft approaches. We invite artists working in all disciplines to consider how the broad theme of the “handmade” might translate to a project on the printed page. Artists may document existing projects or produce new works. We encourage play within the format of the book, including handmade tactile elements, instructional works, creative writing, printed cut-outs, pull-out and tipped-in materials (bearing in mind cost, labour and edition size), etc.

Submission Format for Artists:

Please submit the following materials via WeTransfer to info [arobas] strutsgallery [point] ca with the subject heading: A Handmade Assembly

One-page (max.) description of the proposed project and the themes addressed
Up to 10 images of past work
Descriptions for each image including: title, date, materials, dimensions, etc.
A brief biography (250 words)
A brief artist statement (250 words)
Curriculum vitae (max. 3 pages), including contact information.
Artists will be paid fees consistent with the current CARFAC fee schedule. We encourage applications from IBPOC, LGBTQ2S+, disabled, and neuro-diverse artists.

A Handmade Assembly is made possible through support from the Canada Council for the Arts and the New Brunswick Department of Tourism, Heritage and Culture.

•••••

Call for Submissions
COVER ME – Records, Cassettes & Artists
Hotam Press Bookshop/Gallery is now accepting artwork for our upcoming exhibition COVER ME: Records, Cassettes & Artists.

From Nov 21, 2020 to Jan 31, 2021, our gallery will be transformed into a record shop/discotheque/listening space. We would like to bring together artwork made with or inspired by music of all genres. Vinyl records, cassette tapes, and paraphernalia such as drawings, prints, fanzines, clothing and multiples are all welcome.

Please send us your work by mail (no deadline/until end of show). All accepted works will be available for sale on consignment (70/30) unless otherwise arranged.

For inquiries, our contact email is: hotampress [arobas] gmail [point] com

HOTAM PRESS
BOOKSHOP/GALLERY
218 East 4th Ave.
Vancouver BC V5T 1G5
bookshopgallery.hotampress.com

•••••

BIPOC Artist Instagram Project

CALL FOR SUBMISSIONS

During this time of crisis and increased precarity resultant of COVID-19, EAHR seeks to
connect with BIPOC artists, to share your work, and provide a platform for your artistic
practices to reach new audiences. We are particularly interested in BIPOC artistic
responses to the circumstances presented by the COVID-19 pandemic, including the
urgent call to address ongoing systemic
racism and oppression, (pre-)existing
conditions, climate change, and social justice activism during this unprecedented time.

EAHR (Ethnocultural Art Histories Research Group) at Concordia University invites
artists who identify as BIPOC to submit work for the opportunity to be featured on the
EAHR Instagram * IG: @eahrconcordia *

Accepting submissions *now* and throughout the summer. Submit your work to
ethnoculturalarts [arobas] gmail [point] com today!

Please send us the following:

1. Maximum 5 artworks in any medium that could be shared on Instagram.

Required specifications:

maximum file size of 50 MB per image

JPEG or PNG format

Image must be approximately 1080px by 1350px (Portrait), or/and 1080px by 608px
(Landscape).

2. Artist Biography (300 words maximum)

3. Description of Artwork(s) submitted (300 words maximum)

Artists will hear from us within two weeks of receipt of work. Selected submissions will
be posted every two weeks. While we have no funding to offer artist honoraria for
the
Instagram project, EAHR is currently seeking funding to pay artists for a selection of the
projects from the Instagram exhibition to be archived at the end of summer on
ethnoculturalarts.com (funding pending, artists whose projects are selected for a second
exhibition in the archiving process will be contacted in September).

For more information, please contact us at ethnoculturalarts [arobas] gmail [point] com

To learn more about EAHR, please visit our website: :

https://www.ethnoculturalarts.com/

•••••

AKA supports the creation and development of artist driven initiatives and emerging practices that speak to, reflect and encourage dialogue in our culturally diverse communities. This includes work in all media by local, national and international artists. Our venues consist of a street-level gallery, billboard and multi-use screening and performance event space; we also source off-site locations for site-specific projects.

AKA accepts submissions on an ongoing basis for project/exhibition proposals that consider AKA’s history and setting.

Support for selected projects/exhibitions includes: curatorial assistance, shipping, insurance, installation/strike assistance, promotion, documentation and the potential development of accompanying programming suited to the form of the project. AKA pays artist fees at or (when possible) above the CARFAC national average.

Submissions Guide Please review AKA’s past programming archives, floorplan and billboard; as well as our mandate. AKA accepts digital submissions as a single PDF document via email: gallerycoordinator@akaartistrun with the subject heading: AKA Submission. Please ensure the PDF document includes your name. Digital or physical submissions in any other format will not be accepted.

Submission PDF (max 7MB) must include:

Project/exhibition proposal including technical/install needs (max. 500 words) Artist statement (max 500 words) CV with complete contact information Images with image details (max 10); OR Time-based direct embedded links

AKA Artist-run centre 424 20th Street West Saskatoon, Treaty 6 Territory and the Homeland of the Métis Saskatchewan, Canada, S7M 0X4

306-652-0044 akaartistrun.com

•••••

Southern Alberta Art Gallery (SAAG) Submission Guidelines Exhibition proposals are accepted throughout the year and reviews are ongoing.  Selection is carried out over a period of time through studio visits and correspondence with artists and curators in whom the gallery has an interest.  Those interested in proposing their work to SAAG are asked to include with their submission: a curriculum vitae, an artist statement and/or letter of intent, a wide selection of images, and other relevant support material. Submissions should be mailed to:

Southern Alberta Art Gallery 601 3rd Ave. S. Lethbridge, Alberta T1J 0H4

The gallery will not return your submission – please do not send original artworks or valuable materials.   Given the large number of submissions received by the gallery, formal letters of reply will only be issued to proposals of immediate interest.

Exhibitions are generally six weeks in length.  An opening is held to introduce the work to the public.  Artists are also invited to give an illustrated lecture on their work in conjunction with the University of Lethbridge Faculty of Fine Art during the academic year.  Other special events (workshops, panel discussions, etc.) are considered on a case-by-case basis.

The Southern Alberta Art Gallery pays CARFAC fees, shipping and insurance, and often seeks funding to produce catalogues for the exhibition.  All publications, including our quarterly newsletter GALLERY (which discusses and reproduces work by exhibiting artists along with other programming), are exchanged with other institutions in Canada and abroad.

The Southern Alberta Art Gallery fosters the work of contemporary artists who challenge boundaries, encourages broad public engagement and promotes awareness and exploration of artistic expression.  Our work extends to local, national and international communities.

http://saag.ca/art/submission-guidelines/

 

 

 

 

3. appels internationaux

 

CALL FOR SUBMISSIONS: Emergenyc
Deadline date: February 8, 2021; City: on-line: Source: the Hemi

ABOUT EMERGENYC

EMERGENYC is an incubator for artist-activists interested in developing their creative voice, exploring the intersections of art and activism, and connecting to a thriving community of independent practitioners—most of them POC, women, and LGBTQIA+ folks. First launched in 2008 at NYU’s Hemispheric Institute—and now independent, in partnership with BAX/Brooklyn Arts Exchange and Abrons Arts Center—EMERGENYC offers varied entry points into art and activism, prioritizing process, discovery and reflection, and fostering a brave space for experimentation, risk-taking and community-building. The annual program encourages participants to take interdisciplinary leaps, mix styles and traditions, and develop incisive new work at the intersection of performance and politics. Over the years, EMERGENYC has activated a strong network of artivists—in NYC and beyond—who have built solidarity across differences and challenged dominant narratives through artistic cultural resistance.

The Program: 2021 Zoom Version

While we miss the in-person experience, this pandemic-era virtual iteration has allowed for an expansion of the network of participants—folks can now be anywhere and still be a part of the cohort—which in 2020 brought us unforeseen magic and pleasure. For 2021, we will continue creating in our virtual playhouse: with a decolonial lens, we will explore the intersection of art and activism through creative writing, autobiographical narratives, group work, and other multi-disciplinary adventures—all while creating and re-creating a space in which all participants build community with one another, actively listen with their bodies, and build intentional trust to lay a foundation where compassion and risk-taking guide our work together.

The deadline to submit materials via SUBMITTABLE is Monday, February 8th, 2021 at 5pm (Eastern Time). 

Selected participants will take part in weekly Sunday workshops facilitated by George Emilio Sánchez and Marlène Ramírez-Cancio, as well as workshops by established artists who are leaders in the field of performance and politics. Workshop leaders for 2021 will be announced closer to the date. (See the Faculty page to see past instructors.) We ask applicants to define issues that are important to them and explore how creative practices can harness their political voice. Participants have explored themes of racism and racial violence; police brutality and mass incarceration; joy as resistance; queer world-making; disability rights; undocumented immigrant activism; war and human rights; environmental justice; and myriad topics that affect their lives. These engagements have resulted in the creation of performance art pieces, multimedia installations, theatrical explorations, street performances, video art, and more. The program will take place every Sunday (10am–2pm Eastern Time) from Sunday April 4th to Sunday July 11th (*except for July 4th), with the final works-in-progress presented on July 8th, 2021 via Zoom.

This 3-month program has a fee of USD $500. A modest amount of financial aid will be available to cover part of the tuition on a need basis. If your enrolment depends on financial aid, please let us know in your application.

Who can apply:
EMERGENYC is now open to ALL emerging activists/artists/performers (not just NYC-based) who are fluent in English and can participate in online workshops from 10am–2pm Eastern Time. Applicants must have prior experience in various performance genres and/or activist practices. Age is not a factor (past participants have ranged in ages 18–45, all bringing their best selves to the experience); what we define as ’emerging’ is fluid, and has more to do with how you self-define than anything else. We very much encourage BIPOC, LGBTQIA+, and disabled artists to apply.

Visit the website for the online application form: www.emergenyc.org

•••••

CALL FOR ENTRIES

The Call for Entries for 34th European Media Art Festival is open.

Deadline: 31 December 2020

Films, videos, installations and performance projects or expanded media works – we look forward to receiving your entries for European Media Art Festival No. 34!
The festival takes place from 21 to 25 April 2021. For five days, Osnabrück will become an international and trend-setting platform for media art and a meeting place for artists, curators, gallerists and students. The exhibition at Kunsthalle Osnabrück will be on view until 30 May 2021.

Our selection committee and curators will review the submissions in the coming months and develop the programme for the upcoming festival. The full programme will be available on our homepage www.emaf.de from mid-March 2021.

At the festival, two juries will select the winners of the “EMAF Media Art Award of German Filmcritics (VDFK)”, the “Dialogue Award” given by the German Ministry of Foreign Affairs and the “EMAF Award” for a trend-setting work in Media Art.

We warmly invite you to submit your works!

Please use the online forms to submit all your entries by 31 December 2020 at the latest.

Please find further information and the submission documents at https://submissions.emaf.de.

•••••

Ouverture des candidatures à la compétition vidéo /

Video competition submissions are open
2 sites au choix pour s’inscire / You can choose between 2 websites to register:
videos.videoformes.com/register
www.shortfilmdepot.com

Information: www.videoformes.com/festival-2021
Deadline: 20.10.20
 
•••••
 
Appel à candidatures / Open call: VIDEO ART ACADEMY 2021

// for Art Schools, Universities, etc.
 and moving image education and training organisations
// à destination des Écoles d’Art, Universités
 et organismes d’éducation et de formation à l’image en mouvement

VIDEOFORMES and the CROUS (Cultural Service) Clermont-Ferrand propose to present videos resulting from the work of higher education institutions in the field of video art and digital art.
This exhibition will be part of the international festival VIDEOFORMES 2021.

VIDEOFORMES et le Service Culturel du CROUS de Clermont-Ferrand proposent de présenter des vidéos issues des travaux d’établissements d’enseignement supérieur qui relèvent du champ de l’art vidéo et de l’art numérique. Cette exposition sera intégrée au festival international VIDEOFORMES 2021.


Date limite de dépôt de projet : 21 décembre 2020

Site web

 

 

 

 

 

4. résidences

Appel 2021-2023 
Résidences, projets spéciaux / artistes qui vivent au Québec et au Canada

Date de tombée : 1er février 2021


Dans son mandat, VU considère la photographie non seulement comme une finalité mais aussi comme un moyen d’activer des recherches, des pensées, des idéaux. Voulant affirmer le rôle du centre d’artistes comme espace de création, VU souhaite accueillir des projets et des pratiques d’artistes qui réfléchissent les façons de faire et de penser avec le photographique. 

Exceptionnellement, en raison du réaménagement de nos espaces à Méduse, aucun projet d’exposition solo ne sera retenu cette année. À l’occasion de cet appel, VU souhaite autant recevoir des propositions de projets que de connaître votre pratique ou savoir ce sur quoi vous travaillez en ce moment, afin de rester à l’écoute des pratiques actuelles en photographie. Sur la base de cet appel, VU constituera son programme de résidences et d’événements, et conservera certains dossiers pour des projets en développement.

Dans une intention de rencontre et une volonté de prendre le temps de se questionner, de prendre soin de nous et des autres, nous souhaitons favoriser une posture d’écoute et d’ouverture vis-à-vis de notre communauté. Nous encourageons donc les artistes de tous horizons, que ce soit au niveau des origines, des parcours, des expressions de genres ou encore du développement de carrière, à se présenter ou à nous proposer un projet. 

Avez-vous besoin d’approfondir une recherche, de suivre une formation, de partager sur votre pratique avec d’autres artistes, d’être accompagné dans une démarche, de travailler avec une communauté? Afin d’imaginer notre prochaine programmation avec vous, nous invitons les artistes s’intéressant au photographique à partager leurs idées, leurs projets et leurs pratiques.


Votre dossier devra comprendre :
– Une présentation de votre pratique et/ou de votre projet (500 mots max)
– Un curriculum vitæ à jour
– Des images et/ou votre site web

 
 Envoyez-nous votre dossier à l’adresse appels [arobas] vuphoto [point] org via WeTransfer avec un fichier compressé (.zip) de maximum 25 Mo.


* Dû au grand nombre de réception de dossiers, seuls les artistes retenus pour la programmation seront contactés.
** Veuillez noter que nos espaces de production sont accessibles aux membres sans soumission de dossiers. Pour joindre les espaces de production de VU, composez le 418 640-2558 ou cliquez ici.

Pour toute question concernant l’appel de dossiers, contactez-nous à appels [arobas] vuphoto [point] org


Autres appels à venir
Maquettes de livres : 1er avril 2021
Coproduction : 15 mars 2021
Résidence annuelle : 31 mai 2021

•••••

Call for applications: inaugural Studio Residency Program in New York

Application deadline: December 18, 2020

Amant Foundation
315 Maujer Street
Brooklyn, New York 11206
United States

www.amant.org



Amant Foundation is launching an Open Call for its NY Residency Program, a newly established international studio residency program beginning in September of 2021, with three iterations—Fall, Winter, and Spring. We host artists at all stages of their careers and across a wide array of disciplines from the visual arts, literature, performance, filmmaking, and cultural theory.

The program is committed to providing the residents with the full experience of living and working in New York by facilitating their connections to major institutions and key figures in the city’s world-renowned professional art scene. During their period at Amant, artists are expected to develop and promote their projects on their own terms. We also strongly encourage residents participate in Amant´s own on-going in-house programs and activities, especially through the sharing of ideas internally and publicly in various formats. Amant also highly values and promotes openness to cross-disciplinary conversations.

The Residency:
The Amant complex includes individual studios, exhibition galleries, a library/reading room, a café/bookstore as well as a fully outfitted performance space suitable for rehearsals and other activities. There is also a large communal meeting and dining area with access to a courtyard garden. The residency covers round-trip economy flights and airport transfers to NY and a monthly stipend to offset the costs of accommodation, transport, day-to-day expenses, and a research grant for executing projects. Please be advised the Amant studios are not residential.

Timeline:
December 18, 2020: Application Deadline
March 1, 2021: Final selection announced for the three iterations

3 months in either of the following timeframes:
>From the beginning of September to the end of November, 2021
>From the beginning of January to the end of March, 2022
>From the beginning of April to the end of June, 2022

The Jury:
The candidates will be selected by a professional committee that includes Amant’s senior internal team and three external advisors: Lauren Cornell, Director of the Graduate Program and Chief Curator at the Center for Curatorial Studies, Bard College, NY; Elvira Diangany-Ose, The Showroom Director, London; and Reem Fadda, Director of Abu-Dhabi Cultural Center, Abu-Dhabi.

Documents required to apply:
Applicants should submit a specific project proposal outlining their research interests and intentions during the residency. Applications must be submitted in English.

The submission should include the Application Form and a Portfolio that contains:

-A CV/Resume, which should be no longer than four pages and emphasizes only your most significant achievements, publications, exhibitions, etc.
-Images of your work (up to 10), which should include captions and short descriptions.
-For videos/films, and sound recordings, please provide links (up to 5).
-Samples of published writing (up to 15 pages total) are required for those applying as a writer, historian, or theorist.

For more information on how to apply and to download the application

About Amant Foundation
Amant Foundation is an international arts organization that fosters artistic experimentation and dialogue across disciplines through residencies and public programming at its two locales: the New York City borough of Brooklyn and the Tuscan village of Chiusure in the heart of Siena province.

Amant offers an interdisciplinary program of residencies, exhibitions, performance, workshops and film & lecture series that support the work of practitioners across diverse creative fields. Amant is also committed to participating in cultural partnerships with like-minded organizations and institutions in the US and abroad while also being resolutely committed to encouraging local community engagement through programming that explores and expands our understanding of contemporary art and culture.

 

 

 

 

 

 

 

5. art public

Ville de Moncton

Concours pour une œuvre d’art public extérieure
(Place Resurgo)
CLÔTURE : le vendredi 15 janvier 2021 15 h (heure de l’Atlantique)

RFP20-096 – Outdoor Public Art Competition (Resurgo Place)-FR

•••••

Call for Expressions of Interest: Gardiner Museum Indigenous Public Artwork

Submission Deadline: December 16, 2020, 5pm EST

Download the full application

The Gardiner Museum seeks to commission an outdoor public artwork to honour the ongoing Indigenous presence on Turtle Island. As a museum that features the exhibition of ceramic art, the Gardiner is uniquely positioned to support a work that is both made from the earth and invokes Indigenous Peoples’ connection to the Natural World. On the Ancestral territory and gathering place of the Anishnaabe, the Haudenosaunee, the Petun, the Wendat and the treaty territory of Mississaugas of the Credit, this project may also acknowledge the connections among the many Indigenous communities this land has supported from time immemorial.

PROJECT DESCRIPTION

In keeping with the Gardiner’s mission to build community with clay, the commissioned artwork must be clay-based or involve a significant ceramic component. The artwork is an opportunity to recognize the history and ongoing Indigenous presence on Turtle Island. It can also represent a welcome to the Museum, and its placement can accentuate this aspect of the work. The work should explicitly communicate its content, so that viewers will readily recognize its function of representing, honouring, and evoking Indigenous communities’ presence on and relationship to the land.

This is the first stage in a two-stage selection process. From the qualifications submitted, three applicants will be selected to complete a formal proposal. An Advisory Group will work with the Gardiner Museum and guide the project, including the selection process and eventual choice of the work to be installed on the Gardiner Museum plaza.

ADVISORY GROUP

Andre Morriseau, Communications Manager, Ontario Native Women’s Association
Kerry Swanson, Managing Director, Indigenous Screen Office
Catherine Tammaro, Chair of the Indigenous Arts Committee; Board of Directors, Toronto Arts Council
Mary Anne Barkhouse, Artist
Jason Ryle, Independent Arts Consultant
Kent Monkman, Artist
Duke Redbird, Elder, Saugeen First Nation
Sequoia Miller, Chief Curator, Gardiner Museum

WHO CAN APPLY

We welcome applications from Indigenous artists (First Nations, Inuit, and Métis). We ask applicants to identify Nations with which they affiliate.

HOW TO APPLY

Interested artists are requested to please submit the following:

Letter of intention describing what interests you about this project (up to 1 page)
CV or narrative description of background, training, and artistic work (up to 5 pages)
Images of completed artworks or artistic projects, including title, date, materials, and site (up to 20 images total)
A signed Agreement to Propose and Consent Form
Please submit proposals to:

Digital: artworxto [arobas] gardinermuseum [point] on [point] ca

Physical:
Kent Monkman
c/o Gardiner Museum
111 Queen’s Park
Toronto, ON
M5S 2C7

For questions, please contact:
Sequoia Miller
Chief Curator, Gardiner Museum
sequoia [arobas] gardinermuseum [point] on [point] ca
416-408-5072

Please submit materials as a single digital PDF or hard copy packet. Complete submissions must be received by the Gardiner Museum by 5 pm EST on December 16 in order to be considered. Incomplete submissions will be subject to disqualification. All submission materials will be retained by the Gardiner Museum.

Project Completion: Fall 2021

Click here to view the complete Call for Expressions of Interest guidelines and to submit your qualifications.

ABOUT THE GARDINER MUSEUM

The Gardiner Museum brings together people of all ages and backgrounds through the shared values of creativity, wonder, and community that clay and ceramic traditions inspire.

The Gardiner Museum’s collection of ceramics comprises approximately 4,000 objects, and focuses on specific areas which have been collected in depth. These include the most important collection of European porcelain in Canada, with particular strengths in Meissen, Vienna, and Hausmaler decorated porcelain, as well as a comprehensive collection of figures inspired by the commedia dell’arte. It holds the best collection of Italian Renaissance maiolica in Canada, and a superb collection of English tin-glazed pottery. The Gardiner preserves highly significant collections of ceramics from the Ancient Americas, Chinese blue and white porcelain, Japanese porcelain, and contemporary Canadian ceramics. It also houses a research library and archives, clay studios, award-winning Shop, and a restaurant.

The Gardiner Museum is among the few museums in the world focused on ceramics, and is one of the world’s most notable specialty museums. For more information, please visit: gardinermuseum.com.

•••••

Town of Banff | Gathering and Togetherness – Call for Submissions | JAN 6


The Town of Banff is pleased to announce a call to all professional emerging, mid-
career, or established Canadian artists that
explores, complement, expands upon,
and/or challenges the theme of “Gathering and Togetherness”. The work will be installed
on newly revitalized and pedestrian-friendly Bear Street, also home to several small
locally owned businesses and galleries The total commission award for this 3-D public
art project is $85,000 CAD (all-inclusive).

Beyond the commission award budget of $85,000, a $10,000 budget exists for the
creation of a structural slab to support the piece.

Deadline for submission is January 6, 2021.

For more information visit: https://banff.ca/1153/Call-to-Artists

http://https://banff.ca/1153/Call-to-Artists

•••••

Glenora Park Public Art, Call for Expressions of Interest
ONE Properties and Revera Retirement Living invite Expressions of Interest for emerging, mid-career, and established Canadian artists and artist teams for the design and creation of an artwork or artworks to be set within the outdoor park across from Glenora Park Retirement Residence in Edmonton, Alberta. The artwork or artworks selected for this location will reflect one or more relevant themes: ideas of home, shelter, family, generations, connection, and/or community. The artwork or artworks will be located within the custom landscaped park across from the Glenora Park residence that overlooks Edmonton’s beautiful River Valley.

BUDGET – $150,000 CAD (including fees, design, production, installation)

ANTICIPATED TIMELINE

Deadline for Submissions – December 21, 2020 at 4pm MT
Shortlisted Interviews – January 2021
Shortlisted Proposals – April 2021
Finalist Selected – May 2021
Installation – Spring 2022

The selected piece(s) of public art will be enjoyed from the upper levels of the building, as well as experienced within the park itself. It will activate this social space by creating opportunities for residents, visiting family members, and the broader communities to gather, connect, share stories, reflect, and create memories.

The artwork or artworks can be installed in any location in the park that does not interfere with movement through pathways or obstruct the view of Edmonton’s River Valley. The artwork may be a sculpture or sculptural series and can be kinetic or interactive. The artist or artist team will be selected to design and create artwork that is appropriately integrated into the park site.

Our goal is that this public art project will engage with the Glenora Park community and activate the park. It will contribute to the larger vision of connecting residents to each other, to the broader community, and to bring generations together. As with most successful public art projects, the community in which the art is situated and the site’s historical, cultural, and natural context must be taken into account. The artist or artist team will understand and respect the dignity of the Glenora Park residents and will envision an artwork or artworks that honours and inspires the lives and experiences of seniors especially.

 

To view the full Glenora Park Public Art Call, including design and submission requirements, please go to: ellencunninghamartconsulting.ca/current-projects

Questions? Please contact Art Consultant Ellen Cunningham: cunninghamartconsulting [arobas] gmail [point] com

•••••

Murale sur la façade de l’Institut maritime du Québec / Caravansérail
27 décembre 2020
 
/ Rimouski (Québec)
 
Située à Rimouski et inaugurée il y a maintenant 75 ans, l’Institut maritime du Québec (IMQ) est la plus vieille école maritime du Canada et la seule à offrir un parcours académique francophone en Amérique du Nord.

Dans le cadre de sa campagne de financement, la Fondation de l’IMQ reçoit un soutien financier majeur des partenaires du pilotage. Pour les remercier de leurs généreuses contributions, l’IMQ souhaite investir son bâtiment par une murale qui offrira une grande visibilité aux partenaires du pilotage.

Les propositions recherchées doivent rendre hommage au métier de pilote en relatant l’histoire de l’Institut et en soulignant son apport à la région. Celles qui seront finalistes sauront relater une histoire de savoirs, de maîtrise des eaux et du climat, de contacts et d’échanges avec d’autres peuples marins, et ce par un langage visuel générant un fort sentiment d’appartenance auprès de la communauté maritime et rimouskoise.

Quelques mots sur le métier de pilote

Le métier de pilote est pratiqué depuis plus de 150 ans. Jusqu’en 1959, Rimouski détient son propre poste de pilotage. Le pilotage du Saint-Laurent consiste à assurer la conduite d’un navire pour l’amener sécuritairement à sa destination. Les pilotes jouent donc un rôle essentiel dans la distribution des produits et l’approvisionnement de la société. Ils sont recrutés parmi des capitaines expérimentés qui, une fois sélectionnés, doivent entreprendre une formation de plus de deux ans menant au certificat de pilotage (Métro 2020).

Dans l’iconographie du monde maritime, l’échelle du pilote est emblématique pour ce métier. Elle réfère au transbordement du pilote, une opération délicate et même périlleuse lorsque les conditions météorologiques s’emportent. Il s’agit du moment où le pilote gravit la coque d’un navire à l’aide d’une échelle pour monter à bord et réaliser son mandat.

En savoir plus
 
Caravansérail
274, rue Michaud,
Rimouski (Québec) G5L 6A2

•••••

Appel aux équipes de design
Monument national LGBTQ2+
 
Lieu : Région de la capitale du Canada

Date limite : le 5 janvier 2021 à 15 h HNE

Budget : pas moins de 4 825 000 $
(coûts de design, décontamination et construction)

Le ministère du Patrimoine canadien invite des équipes à présenter leurs qualifications et des exemples de leurs travaux antérieurs dans le cadre de la première étape d’un concours en deux phases.

Le document de Demande de qualifications est disponible sur le site achatsetventes.gc.ca.

Cliquez sur le lien suivant pour obtenir le document :

https://achatsetventes.gc.ca/donnees-sur-l-approvisionnement/appels-d-offres/PW-20-00930037

•••••

 

Appel aux équipes de design
L’œuvre d’art commémorative d’Affaires mondiales Canada
 
Lieu : Région de la capitale du Canada

Date limite : le 16 décembre 2020 à 15 h HNE

Budget : pas moins de 2 611 250 $
(coûts de design, décontamination et construction)

Le ministère du Patrimoine canadien invite des équipes à présenter leurs qualifications et des exemples de leurs travaux antérieurs dans le cadre de la première étape d’un concours en deux phases.

Le document de Demande de qualifications est disponible sur le site achatsetventes.gc.ca.

Cliquez sur le lien suivant pour obtenir le document :

https://achatsetventes.gc.ca/donnees-sur-l-approvisionnement/appels-d-offres/PW-20-00926505

 

 

 

 

 

6. pour commissaires

Call for Submissions: 2021 Middlebrook Prize

2021 Middlebrook Prize for Young Canadian Curators – Call for Submissions
Founded in 2012, the Middlebrook Prize for Young Canadian Curators is awarded annually to an emerging Canadian curator under 30 with the aim to foster social innovation and curatorial excellence in Canada. Hosted and administered by the Art Gallery of Guelph, the winner is selected by a jury of arts leaders and receives a $5,000 honorarium as well as mentorship in the development of an exhibition at the Art Gallery of Guelph.

Submissions will be accepted until January 15, 2021, at 5 pm. The exhibition will be presented from September 16 to December 12, 2021 at the Art Gallery of Guelph. By supporting and mobilizing Canadian creative talent, the Middlebrook Prize aims to inspire positive social change through creativity in an era of ongoing and unprecedented economic, environmental, social and cultural upheaval. Proposals should emphasize contemporary Canadian art with attention to audience, community and public.

The 2021 Middlebrook Prize jury is composed of Nicole Caruth (Independent curator and cultural strategist), Sally Frater (Curator of Contemporary Art, Art Gallery of Guelph), and Denise Ryner (Director/Curator, Or Gallery and Associate Curator, Haus der Kulturen der Welt, Berlin).

Applications must include:

Letter of introduction: applicants should articulate their curatorial values and philosophy and what the Middlebrook Prize means to them as a career-building opportunity
One-page exhibition proposal: proposal must include contact information, curatorial statement, list of artists, and description of potential outreach programming
Exhibition budget up to $10,000 including: artist fees (per CARFAC fee schedule for Category II institutions), shipping via an accredited art transportation company, any special equipment requirements for the exhibition, a description of unique or unusual installation requirements, projected travel/accommodation expenses for artist(s)/curator
One sample of critical writing: curatorial essay or published article/review, for example
Curriculum vitae: current, maximum 3 pages
Support images (10): with descriptions (artist name, title, date, medium, dimensions) including 5 images supporting exhibition proposal and 5 images documenting past curatorial work
Floor plan: detailing the proposed layout of works (download the floor plan)
Notes:

The award winner must be under 30 years of age by December 31, 2021 and is required to demonstrate proof of age on signing of the exhibition contract
The Prize is open to Canadian citizens, as well as non-Canadians currently living and working in Canada
If the Prize is awarded to a non-Canadian curator, they must be resident in Canada for the full term of the Prize (March 1 through December 31, 2021)
Applications are to be submitted in a single PDF document, with the subject line Middlebrook Prize, to info [arobas] artgalleryofguelph [point] ca. We welcome and encourage submissions from applicants who are BIPOC, LGBTQ2S, women, and persons with disabilities.

Important Dates:

Call for Submissions: December 1, 2020 – January 15, 2021
Exhibition Dates: September 16 – December 12, 2021

In light of the changing landscape of the pandemic, please stay tuned for details about the award presentation early in the new year. The Middlebrook Prize for Young Canadian Curators is made possible through the support of the Centre Wellington Community Foundation Middlebrook Social Innovation Fund, The Guelph Community Foundation Musagetes Fund, as well as private donations. For more information about the prize as well as past winners and their projects, please visit middlebrookprize.ca.

Art Gallery of Guelph
358 Gordon Street, Guelph, Ontario N1G 1Y1
Open Tuesday to Sunday, 12 – 5 pm | Thursday 12 – 8 pm | Accessible
519-837-0010
artgalleryofguelph.ca
info [arobas] artgalleryofguelph [point] ca

•••••

Public Programs Manager
Development Officer
Canadian Clay & Glass Gallery, Waterloo

Deadlines: December 11

The Public Programs Manager will plan and implement all classes, artist talks, community events, and school visits. The Development Officer will be responsible for advancing the Gallery’s exhibitions and programs through fundraising initiatives.

Read more

•••••

Tenure-Track position in Visual Arts
University of British Columbia, Okanagan Campus, Kelowna

Deadline: January 15

Inviting applications from qualified candidates with demonstrated research/exhibition/teaching experience in painting, further experience in a variety of other areas, and a strong commitment to Indigenous engagement.

Read more

•••••

esse art + opinion

No. 103 – Dossier Sportification

Date de tombée : 1er avril 2021


Le sport amateur et professionnel a toujours occupé une place importante dans le domaine des arts. Dans tous les pays où le plaisir et la joie de l’activité sportive sont exaltés, que ce soit sur une patinoire ou un terrain de basketball, de soccer ou de cricket, des artistes comme des commissaires s’appuient sur les aspects matériels, thématiques et structuraux des sports individuels et des sports d’équipe pour créer et penser. À travers le prisme ludique et compétitif d’un maillot d’équipe, d’un ballon, d’une raquette, d’une piscine ou d’un terrain d’athlétisme, bon nombre d’artistes aujourd’hui cherchent à éclairer les points où se croisent les éléments esthétiques et sociopolitiques du sport, de sa pratique, de ses fanclubs, de son déploiement architectural et de sa culture en général.

Depuis longtemps, à titre d’ardents supporters, d’observateurs et observatrices ou participantes et participants, des peintres et des photographes choisissent de renvoyer une image déformée de scènes sportives familières ; des artistes de la sculpture et du textile métamorphosent des parties de l’équipement emblématique par des assemblages inusités ; d’autres remettent en question les codes du jeu et les attitudes typiques dans des performances ; et des artistes de la vidéo retournent l’objectif vers le spectacle en tant que tel, les médias de masse et le public. L’hypervisibilité du sport dans les arts témoigne de sa nature politique inhérente, de la séduction cinétique des corps en mouvement, de la chorégraphie sous-jacente au jeu, de la conception visuelle de la partisanerie, de l’envoutement de la victoire et de l’effet cathartique de la défaite.

[…] Les relations entre le sport et l’art contemporain sont multiples et variées. C’est dans cette optique que Esse arts + opinions invite les autrices et auteurs à fouiller de manière extensive la question du sport en tant que phénomène esthétique, politique, culturel et social étroitement lié aux arts visuels et aux arts de la performance. Qu’est-ce qui séduit dans le sport, quand on le considère comme un évènement frappant sur les plans visuel, dynamique et affectif ? Comment s’y prennent les artistes pour saisir les enjeux et les connotations sociopolitiques du sport et montrer les dessous de ce qu’on présente souvent comme un univers apolitique ? En quoi le culte de l’athlète est-il semblable (ou pas) à celui de l’artiste comme visionnaire héroïque ? Quels tropes, quels codes et quels vocabulaires de la culture sportive sont employés par les artistes, et à quelles fins ?

 

Appel de textes + Politique éditoriale

•••••

Storefront Manitoba: Executive Director, Application Deadline December 21
Executive Director

Storefront Manitoba

November 24, 2020

Storefront Manitoba is a project-based, not-for-profit organization dedicated to advancing the awareness and appreciation of architecture, design and the built environment throughout the province. The SfMB Executive Director is an energetic, dynamic and passionate advocate for these issues and, together with the Board of Directors, will help guide the vision and values of SfMB and implement our combined vision.

SfMB Values:

the creation of interconnected and livable communities for all through an accessible, inclusive and collaborative process;
the engagement of Manitobans through celebration and education of inspiring and meaningful design;
the empowerment of a professional community that promotes and advocates for the value of good design;
the importance of fostering critical discussions regarding design that influence decision-makers and shape a positive future.
Areas of Responsibility Include:

providing leadership and mentorship to SfMB staff, and support for the Board of Directors;
working together with the Board to implement strategic and operational priorities i.e. increasing awareness + promoting SfMB by actively participating in community events such as public presentations, collaborative meetings, juries, discussion panels, networking events, etc.;
planning and coordinating SfMB administrative events including our Annual General Meeting;
maintaining and growing sponsor relationships and fundraising/grant opportunities;
overseeing SfMB’s budget including the recording of transactions, preparation of annual budgets, coordination of the audit, and reporting on our year-end financial position;
brainstorming and executing creative ideas i.e. forums, events, partnerships etc. on an ongoing basis;
coordinating and maintaining media relations and preparation of media packages as required;
general administrative duties i.e. banking, pre-authorized payments, meeting agendas and scheduling etc.;
providing guidance and oversight to staff, interns, or volunteers as required;
manage and coordinate programming of anticipated events including the Pop-Up event space [Spring/Summer 2021], Table for 1200 (Spring 2021), and others.
Qualifications

good knowledge of the Winnipeg design scene with a focus on the built environment. A degree in Architecture or the allied arts professions including Landscape Architecture, Interior Design, Urban Planning is considered an asset. Preference may be given to those with professional registration in any of these fields.
leadership experience at a senior level with the ability to balance week to week responsibilities while executing on high level strategic objectives.
experience in project management.
creative, engaging and outgoing personality, ability to inspire and lead others.
access to a workspace, computer and software (including word processing and spreadsheet programs), and familiarity with Adobe creative suite programs (InDesign, Photoshop, Illustrator).
versatile and self-motivated; ability to operate independently.
experience in/ability to maintain and generate budgets.
experience in/ability to guide presentations, graphic materials and written content.
experience with/ability to write grant proposals and sponsorship requests.
comfortable with public speaking and appearing in front of a camera.
experience in organizing and creating events and programs is an asset.
Remuneration

The Executive Director of Storefront Manitoba is a half-time position and offers

annual compensation of $40,000. The position is ideally suited for someone with

other professional or personal interests.

How to Apply

Qualified persons interested in the position should forward their CV and cover letter

to info [arobas] storefrontmb [point] ca by 4:00 p.m. December 21, 2020. Please indicate your

available start date in your cover letter.

Inquiries can be directed by email to the Chair, Jeff Palmer, at jeff [arobas] aaaplanning [point] ca.

•••••

CALL FOR PROPOSALS: Performance Research Vol. 26, No. 8: ‘On Biopolitics’
Deadline date: January 11, 2021; City: the world; Source: Performance Research

Performance Research
Vol. 26, No. 8: ‘On Biopolitics’ (December 2021)

Proposal Deadline: 11 January 2021

Issue Editors:
Eve Katsouraki (University of the West of Scotland)
Simon Donger (Royal Central School of Speech and Drama, University of London)

‘To live with the sensation of helplessness: today, probably this is the moral state under which, by resisting, we could be faithful to our times.’ (Imre Kertész in Duarte 2005)

In the lecture course The Birth of Biopolitics at the Collège de France in 1978–9, Foucault defined biopolitics as a fundamental historical change in the way that power is exercised in our culture and society. Turning away from notions of sovereignty, he looked at the management of groups, populations and the human species that he ultimately identified with market-oriented liberalisms and, eventually, neo-liberalisms. For Foucault (1990 [1976]), biopolitics indicated the historical passing of our society into biological modernity that stood, he claimed, for much of a dangerous threshold—that is, the passage from the governing of people as political subjects of law to the governing of living beings—as a ‘population’—with a natality rate, a mortality rate, a morbidity rate, an average life expectancy and so forth. Power, now conceived as ‘biopower’, Foucault insisted, uses populations like a machine for production—the production of wealth, good and other individuals. Yet even if biopolitics could claim to increase productivity across all sectors (public and private, governmental and independent), it was, in fact, organizing unequally the production of wealth in certain sectors over others. This could not be more visible, for example, during this current coronavirus pandemic.

Indeed, what the corona crisis has most strongly demonstrated is the contradictions at work in the economic, political and social fabric of life under late Capitalism. Although we are being urged to stay at home and work from home, there are still many who are being forced to go to work every day because they cannot work from home or do not have a home to stay at in the first place. And although we are encouraged to applaud the medical and care workers at the forefront of fighting corona (and we should surely applaud them), don’t we also equally need to celebrate the delivery people who brings goods to our homes while we remain safely inside? Or the supermarket and pharmacy cashiers, or the public-transportation drivers, the factory workers, the police officers and all those people working in mostly low-income jobs? Racism is another reoccurring feature to the event of any such differential exposure of human beings to health and social risks being one of the constitutive features of biopolitical governmentality. And, finally, the last, most profound perhaps, biopolitical lesson of life that this pandemic has also taught us is the disciplinarization of a city and its inhabitants that is a deeply biopolitical norm.

Please refer to the website for complete statement regarding the themes of this edition: PERFORMANCE RESEARCH website

SCHEDULE:
Proposals: 11 January 2021
First Drafts: April 2021
Final Drafts: June 2021
Publication: December 2021

FORMAT:
Alongside long-form articles, we encourage short articles, provocations and other forms of creative response. As with other editions of Performance Research, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.

ISSUE CONTACTS:
All proposals, submissions and general enquiries: info [arobas] performance-research [point] org

Issue-related enquiries should be directed to the issue editors:
Eve Katsouraki: eve [point] katsouraki [arobas] uws [point] ac [point] uk
Simon Donger: simon [point] donger [arobas] cssd [point] ac [point] uk 

•••••

Appel aux textes et aux visuels / Inter n. 137
15 janvier 2021
 
/ Québec (Québec)
 
À la lumière des événements actuels, l’équipe d’Inter a jugé plus pertinent de repousser la date de sortie de son numéro Afrique à l’année prochaine, afin de coïncider avec la tenue de la prochaine RiAP et la venue au Québec d’artistes africain.e.s. Nous sommes navré.e.s des déceptions et des inconvénients encourus pour certain.e.s d’entre vous – soyez toutefois assuré.e.s que tous les visuels et tous les textes reçus jusqu’à maintenant seront pris en compte.

Inter n. 137 / Pratiques du silence, du son et de l’oralité

(POÉSIE BRUITISTE, CHANT, DISTORSION, MUSIQUE, ORALITÉ, ORACLE, PAROLE, SILENCE, SON, VERBE, VOIX, DANS LES PERFORMANCES)

Après le langage du corps, le geste sans bord en métamorphose et le corps du langage dans l’alchimie du verbe, ce dossier, s’il se pose sous les auspices d’Arthur Rimbaud, entend interroger plusieurs champs de la pratique artistique qui excèdent largement celui de la littérature. L’auteur d’Une saison en enfer n’avait-il pas l’idée lui-même d’une poésie mobilisant tous les sens?

J’inventai la couleur des voyelles ! A noir, E blanc, I rouge, O bleu, U vert. Je réglai la forme et le mouvement de chaque consonne, et, avec des rythmes instinctifs, je me flattai d’inventer un verbe poétique accessible, un jour ou l’autre, à tous les sens. Je réservais la traduction. Ce fut d’abord une étude. J’écrivais des silences, des nuits, je notais l’inexprimable. Je fixais des vertiges.

Le verbe poétique dans cette « alchimie » peut interpeller de nombreux aspects inhérents aux pratiques actuelles de l’art action. La parole, ou son absence, sous forme de silences ou de sons inintelligibles, insignifiants, y est mobilisée par les organes du corps humain ou divers dispositifs techniques. À ce dernier égard, une attention particulière peut être portée aux technologies dites acousmatiques, permettant l’enregistrement et la diffusion d’une tridimensionnalité sonore.

En amont de ces expériences, parfois, de haute voltige technique, nous pouvons invoquer l’oralité en général, y compris les effets sur la respiration humaine (chants de gorge), et les pratiques théâtrales, des plus classiques (les chœurs du théâtre grec) aux plus archaïques-modernes (Artaud), en passant par les pratiques classiques-modernes (Louis Jouvet jouant Molière) et celles des avant-gardes du XXe siècle (John Cage, Dada, Fluxus, Gertrude Stein), qui peuvent se transposer dans le monde actuel de la performance.

Sur le plan théorique ou philosophique peuvent également être retenues pour ce dossier la transmutation du « Je pense, donc je suis » (Descartes) au « Je est un autre» (Rimbaud) ainsi que les innombrables ramifications de l’alta Chimera, ou la sphère de la haute Chimère.

Format des textes : 3500 mots au maximum
Format des images : 300 dpi, format JPEG ou TIFF, minimum 46 x 30 cm
Date limite: 15 janvier 2021
Date de parution: hiver 2021
Coresponsables de dossier: Giovanni Fontana et Martin Nadeau
Consultez la section «Proposer un article» sur notre site Web afin de connaître tous les détails concernant l’envoi de vos soumissions. Pour soumettre un texte: redaction [arobas] inter-lelieu [point] org

Le Lieu
345, rue du Pont,
Québec (Québec) G1K 6M4
+1 418.529.9680
infos [arobas] inter-lelieu [point] org
http://www.inter-lelieu.org

•••••

A Handmade Assembly
We invite Artists and Writers from across Canada and abroad to submit proposals for an upcoming publication exploring the theme of the Handmade.

Deadline for submissions: January 5, 2021

The origins of this publication are rooted in a long-running annual event hosted by Struts Gallery and the Owens Art Gallery that brought together artists, curators, and makers from the region and beyond to lead discussions, facilitate workshops, initiate projects, exhibit work, and share in a common thread—the handmade.

A Handmade Assembly originated in response to an increased interest in the handmade, deskilling, and DIY aesthetics that emerged in contemporary art practices near the beginning of the decade. The topic continues to appeal to artists exploring the extraordinary potential of craft processes, materials, and techniques, both for their capacity to speak directly and viscerally and for their political and historical potency.

For its tenth and final iteration, the long-running programme will be re-envisioned as an ambitious, bilingual book project that parlays nine years’ worth of inquiry into a comprehensive volume, with the goal of providing a multi-faceted view of the role of the handmade in contemporary art, while also extending these discussions to a new format.


CALL FOR PROPOSALS: Critical Texts, Essays, Interviews, Creative Writing, etc.
Deadline: January 5, 2021

A Handmade Assembly has dedicated nine years towards pushing back against dominant art narratives that marginalize craft practices and has worked to foster and support an appreciation of the myriad art forms encompassed by the term handmade. We invite writers to interpret the topic of the “handmade” broadly, with the aim of presenting a multi-faceted view of the role of the handmade in contemporary art. Writers are encouraged to propose critical, historical or interpretive essays, interviews, creative writings, and so forth that address the intersection of contemporary art and the handmade. Ideally, we are seeking texts ranging from 500 to 1000 words.

Submission Format for Writers:

Please submit the following materials via WeTransfer to info [arobas] strutsgallery [point] ca with the subject heading: A Handmade Assembly

A brief one-page (max) proposal for an essay, interview or other text work
OR
A completed piece that has not been previously published (max. 1000 words);
Two writing samples which demonstrate your style and interests;
A brief biography of no more than 250 words;
Curriculum vitae (max. 3 pages), including contact information.
Writers will be paid $1.00/word for a word count of up to 1000. We encourage applications from IBPOC, LGBTQ2S+, disabled, and neuro-diverse writers.


A Handmade Assembly is made possible through support from the Canada Council for the Arts and the New Brunswick Department of Tourism, Heritage and Culture.

•••••

Numéro de printemps 2021 / Vie des Arts
3 janvier 2021
 
/ Montréal (Québec)
 
Date de tombée : 3 janvier 2021

Rubriques récurrentes du numéro 262 – Printemps 2021

Pour son numéro de printemps 2021, Vie des Arts est à la recherche de propositions pour ses rubriques récurrentes (Actualités, Critiques et Livres) seulement.

Vous avez vu une exposition, assisté à un événement ou une manifestation artistique, lu un livre sur l’art récemment, ou vous voulez nous faire part d’un enjeu concernant les arts qui vous tient à cœur ? Envoyez-nous vos intentions pour la rédaction d’un article pour les rubriques suivantes :

Actualités : nouvelles brèves (sans notes de bas de page) collées à l’actualité des arts visuels au Québec et au Canada. Le style d’écriture est plus informatif qu’analytique, et les textes sont écrits de manière à mettre en perspective un enjeu d’actualité ciblé (portée sociale, politique ou collective d’un sujet sur l’art) ou font part d’une nouveauté du milieu de l’art (prix, nominations, nouveaux programmes, etc.).

Comptes rendus : couvertures d’expositions ou d’événements en cours ou terminés au plus tard deux mois avant la date limite de l’appel de propositions actif. L’objectif de ces couvertures est de faire comprendre les thèmes soulevés par l’exposition ou l’événement, en relation avec le corpus des artistes. L’auteur-e est invité-e à développer un point de vue original sur les œuvres et faire preuve d’un engagement discursif avec son sujet en orientant son propos autour d’une idée ciblée et en évitant une approche strictement descriptive. L’utilisation de citations et de concepts théoriques est suggérée pour appuyer la discussion des œuvres, et l’emploi des notes de bas de page doit être limité.

Livres : comptes rendus (sans notes de bas de page) d’une publication sur l’art parue au courant de la dernière année. Le style d’écriture est descriptif et vise à résumer l’ouvrage et à le situer dans le contexte actuel.

Vie des Arts priorise les propositions de sujets qui reflètent l’écriture de son auteur-e : en d’autres termes, votre proposition doit être dynamique et nous donner un aperçu de votre style de rédaction !

Dans l’optique de favoriser une pluralité de voix et de regards sur l’art actuel, Vie des Arts souhaite lancer une invitation spécifique, mais non exclusive aux personnes autochtones et racisées afin qu’elles puissent soumettre une proposition d’article.

Toutes les soumissions pour les rubriques récurrentes doivent être en un seul document Word ou PDF, et inclure le sujet anticipé, une description de l’angle critique qui sera utilisé pour la rédaction selon la rubrique envisagée (250 mots); ainsi qu’une courte biographie de l’auteur-e (40 mots), et être envoyées à redaction [arobas] viedesarts [point] com avant le 3 janvier 2021. Nous ferons un suivi avec les propositions pressenties et les textes finaux, suivant l’entente préalablement prise avec la rédaction, devront être rendus au courant du mois de février 2021.

Vie des Arts
5605, avenue de Gaspé, bureau 603
Montréal (Québec) Canada H2T 2A4

https://viedesarts.com/

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Two positions: Assistant Professor in Creative Technologies, York University

Creative Technologies
School of the Arts, Media, Performance & Design,
York University
The School of the Arts, Media, Performance & Design (AMPD), York University invites two (2) highly qualified candidates to apply for professorial stream tenure-track appointments in Creative Technologies at the Assistant Professor level, to commence July 1, 2021. Salary will be commensurate with qualifications and experience. All York University positions are subject to budgetary approval. The successful applicants will be based at the new York Markham Centre Campus when operational (expected in Fall 2023) and become a member of the first cohort of resident faculty members. Between July 1, 2021 and the opening of the campus, the appointees will assume a combination of teaching responsibilities at York’s Keele campus and contribute to the development of academic and research programming planned for the new Markham Centre Campus.

York University’s Markham Centre Campus offers state-of-the-art facilities to provide innovative job-ready academic programming and research focusing on core themes of technology and entrepreneurship as applied in different contexts, disciplines and professional fields. Building on York University’s academic presence in the City of Markham, the new campus presents a unique opportunity to enhance and innovate programming across the arts, sciences and engineering and to experiment with new experiential education formats and partners that will provide the York Region with excellent undergraduate degree offerings that integrate emerging technologies, entrepreneurship, and civic leadership. Programs are designed to provide transferable 21st-century skills that are at the core of future economic competitiveness and community development in Markham, York Region and across Ontario. Collaboration with York University’s existing research strengths in the core areas of the new campus and dynamic engagement with the area’s businesses and industries will create an innovative, cross-disciplinary research culture for solving complex problems that transcend traditional disciplines.

Requirements: A Ph.D. or an M.F.A. with a substantial record of professional experience in the arts and technology, broadly defined; candidates should demonstrate potential for excellence in teaching and curricular development, with a developing record of scholarly research and publication and/or professional practice that emphasizes community engagement. We are particularly interested in candidates who will contribute to the intellectual and cultural diversity of the York community and can engage the communities of Markham and surrounding regions.

The successful candidate will be expected to engage in outstanding, innovative, and, as appropriate, externally funded research or research creation at the highest level.

We seek two promising artists, teachers, and researchers who are committed to inclusive program development that builds upon the historic strengths in the arts at York to develop a compelling new curriculum at the intersection of the arts, community, and technology for Canada’s next generation of artistic and cultural leaders. One of North America’s leading schools for the arts, AMPD offers undergraduate and graduate degree programs in Cinema and Media Arts, Computational Arts, Dance, Design, Music, Theatre, Visual Arts and Art History, Theatre and Performance Studies. The Markham Centre Campus undergraduate program will engage students in emerging areas of artistic creation and research within a unique learning environment focused on socially responsive technologies, experiential education, collaboration with emerging creative industries, and community-engaged arts practice. This position will begin with a two-year term at York’s Keele campus before moving to the Markham Centre to lead programs in a new building created specifically for the campus there. In the interim, the successful candidates will be affiliated with the departments that best suit their research and teaching interests. Candidates must provide evidence of research excellence of a recognized international calibre as demonstrated in: the research statement; a record of publications (or forthcoming publications) with significant journals in the field; presentations at major conferences; awards and accolades; and strong recommendations from referees of high standing.

The position may involve graduate teaching and supervision, as well as undergraduate teaching and the successful candidate must be suitable for prompt appointment to the Faculty of Graduate Studies.

Evidence of excellence in teaching will be provided through: the teaching statement; teaching accomplishments and pedagogical innovations including in high priority areas such as experiential education and technology enhanced learning; teaching evaluations; and strong letters of reference.

York University champions new ways of thinking that drive teaching and research excellence. Through cross-disciplinary programming, innovative course design, diverse experiential learning and a supportive community environment, our students receive the education they need to create big ideas that make an impact on the world. Located in Toronto, York is the third largest university in Canada, with a strong community of 53,000 students, 7,000 faculty and administrative staff, and more than 300,000 alumni.

York University has a policy on Accommodation in Employment for Persons with Disabilities and is committed to working towards a barrier-free workplace and to expanding the accessibility of the workplace to persons with disabilities. Candidates who require accommodation during the selection process are invited to contact Professor Michael Darroch, Chair of the Search Committee, School of the Arts, Media Performance Design at applyampd [arobas] yorku [point] ca.

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA Program, which applies to women, members of visible minorities (racialized groups), Aboriginal (Indigenous) people and persons with disabilities, can be found at www.yorku.ca/acadjobs or by calling the AA line at 416-736-5713. Applicants wishing to self-identify as part of York University’s Affirmative Action program can do so by downloading, completing and submitting the form found at: http://acadjobs.info.yorku.ca/affirmative-action/self-identification-form. All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples in Canada will be given priority. No application will be considered without a completed mandatory Work Status Declaration form which can be found at http://acadjobs.info.yorku.ca/affirmative-action/work-authorization-form.

The deadline for receipt of completed applications is January 15, 2021. A letter of application with an up-to-date curriculum vitae, a statement of research and teaching interests, three letters of reference and teaching evaluations should be sent to: Professor Michael Darroch, Chair of the Search Committee, School of the Arts, Media Performance Design at applyampd [arobas] yorku [point] ca.

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Images Festival 2021 

Call For Submissions!
There is no fixed submission deadline. Submissions are accepted on a rolling, ongoing basis.
 
 
GUEST PROGRAM SUBMISSIONS
 
Images welcomes proposals from Guest Programmers and Curators for cinema screenings and exhibitions!
 
If you have an idea for a project that responds to our distinct vision, we would love to hear it.
 
 
For more information, please click here.
 
Entries for GUEST PROGRAM projects are accepted on a rolling basis.
Images Festival 309-401 Richmond St W
T: +1 416 971 8405 | E: images [arobas] imagesfestival [point] com
 
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Appel de textes – À l’est de vos empires
 
 
La revue culturelle dédiée à la scène artistique de la ville de Québec À l’est de vos empires* est à la recherche de textes éclairés et perspicaces, intelligents et stimulants, mais également accessibles et réfléchis. Nous sommes intéressés par les textes critiques consacrés au domaine des arts visuels, mais aussi par les essais artistiques et les créations poétiques.

Nous raffolons de textes traitant de la théorie des arts et désirons également lire vos comptes rendus d’expositions et d’évènements se déroulant dans la capitale.

On demande aux auteur.rice.s intéressé.e.s de faire parvenir à l’adresse d’À l’est, alestdevosempires [arobas] gmail [point] com, une courte proposition de texte (100 mots), accompagnée d’un CV et d’une biographie succincte** (50 mots).

Nous encourageons la rédaction de textes d’une longueur de 500 mots, bien que nous soyons également ouvert.e.s à des formats novateurs adaptés à vos propositions artistiques ou poétiques originales. Un cachet de 50$ sera offert à nos contributeur.rice.s suite à la publication de leur texte. Les textes retenus puis révisés par notre comité de rédaction seront publiés sur notre site web et partagés dans notre infolettre, en parallèle à nos baladodiffusions hebdomadaires.

Site web

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Esse

No. 102 – Dossier (Re)voir la peinture
Date de tombée : 10 janvier 2021

[…] L’expression retour de la peinture est d’abord apparue dans les années 1980 autour de pratiques artistiques et d’activités critiques qui observaient un regain d’intérêt pour le pictural, alors que les décennies précédentes avaient été consacrées à l’immatérialité, à l’éphéméralité, à la corporalité. Pourtant, ce énième retour de la peinture mérite d’être déconstruit. D’une part, nombre de peintres contemporains s’intéressent aujourd’hui à ces questions qui sont prétendument étrangères à leur médium, en proposant des formes hybrides de création empruntant à l’installation, à l’art conceptuel ou à la performance. D’autre part, nombre d’artistes investissent les thèmes et les conventions de représentation de la peinture de manière critique. Ces artistes, souvent issus des communautés autochtones, noires ou de couleur, l’entrevoient comme un outil à mobiliser pour déconstruire l’homogénéité des discours en art. Dans les deux cas, la peinture se dresse contre une certaine orthodoxie, imposée par le médium lui-même ou par le milieu qui la diffuse.

La peinture actuelle s’articulerait dans ces trois moments : dans les questionnements de sa pratique, dans sa valorisation par la mise en exposition, et finalement dans son imbrication dans les rouages du marché de l’art. Plutôt que d’imaginer un retour à la peinture qui signalerait la résolution d’une fausse absence, vaut-il mieux la comprendre comme une expression du contemporain, qui nous inviterait à penser ses mouvements, ses mobilités et ses discours pluriels ? Que dit-on par la peinture ? Que nous dit-elle sur l’état du milieu de l’art ? Esse arts + opinions invite les auteurs et autrices à réfléchir aux conditions de cette visibilité. À quels impératifs esthétiques, éthiques, sociaux, politiques ou économiques répond-t-elle ? Comment est-elle saisie par les artistes actuels ?

 

Appel de textes + Politique éditoriale

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Appel à contribution

La Revue de Paris fait appel à contribution d’auteurs
qui souhaitent divulguer un article déterminant en lien avec l’art.

L’article peut être un texte d’analyse, un entretien,
un texte sur l’actualité ou encore un portrait.

Rendez-vous sur le site de la Revue de Paris
pour soumettre votre contribution.

Lien