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La Liste : 16 septembre 2022

Tarralik DuffyPop, chip, kukuk à la Galerie SAw Gallery

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.

Nouvelles de l’AGAVF

Créer des liens entre les communautés à travers l’art contemporain : Écoutez l’émission radio

Réalisée le 28 juin dernier dans le cadre du Sommet des arts de l’Arctique sur les territoires traditionnels de la Première Nation Kwanlin Dün et du Conseil des Ta’an Kwäch’än à Whitehorse, au Yukon, cette émission radiophonique en deux parties est la première d’une série d’ateliers de production radio pilotés par l’artiste multidisciplinaire et musicien Geronimo Inutiq (Iqaluit/Winnipeg).

Plus de détails

 

 

Programmation des membres de l’AGAVF

Galerie SAW Gallery (Ottawa)

Tarralik DuffyPop, chip, kukuk
Du 12 août au 15 octobre 2022

67, rue Nicolas
Ottawa, Ontario
saw-centre.com

Centre d’artistes Voix Visuelle (Ottawa)

Sophie Perry – Prémisse
du 6 septembre au 11 octobre 2022

67, avenue Beechwood
Vanier, Ontario
voixvisuelle.ca

Maison des artistes visuels francophones (Saint-Boniface)

Susan Aydan Abbott, Michèle Bygodt, Yvette Cenerini, Riisa Gundesen – Incarnation
du 4 août au 24 septembre 2022

101-219, boulevard Provencher
Saint-Boniface, Manitoba
maisondesartistes.mb.ca

Centre d’arts visuels de l’Alberta (Edmonton)

Stefani Alzati
Nadia Tanguay et Nozomi Kamei
du 2 septembre au 20 octobre 2022

9103 95e Avenue
Edmonton, Alberta
www.galeriecava.com

Centre culturel franco-manitobain (Saint-Boniface)

Hommage à Dave Maddocks – rétrospective
du 16 août au 21 septembre 2022

340, boulevard Provencher
Winnipeg, Manitoba
www.ccfm.mb.ca

Constellation bleue-Galerie Bernard-Jean (Caraquet)

Fanny Basque Les bouleversements
du 9 septembre au 9 novembre 2022

220, boul. Saint-Pierre Ouest
Caraquet, Nouveau-Brunswick
constellationbleue.com

Galerie du Nouvel-Ontario (Sudbury)

Will MorinBawaajigan
du 6 septembre au 15 octobre 2022

27, rue Larch
Sudbury, Ontario
gn-o.org

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

Christi Belcourt, Denis Taman Bradette, Laura Demers, Mariana Lafrance, Kaylee Meyer, Sylvie Pilotte et Laura St PierreLes objets trouvés du Paradis | Paradise Lost and Found
Commissaire/curator : Carolina Reis
du 23 juin au 30 octobre 2022

Marjorie Beaucage, Katia Café-Fébrissy et Thirza Jean Cuthand – Présentées en projection extérieure
le 29 septembre 2022

Présentées en diffusion en continu sur VUCAVU.com
le 5 – 16 octobre 2022

Causerie d’artistes en diffusion directe sur VUCAVU.com
le 12 octobre 2022 à 17h (heure de l’Est)

Université de Moncton
Moncton, Nouveau-Brunswick
www.umoncton.ca/umcm-ga

 

Appels de dossiers

1. appels en français du Canada

Jeux de la Francophonie Équipe Canada – Kinshasa, Congo – 30 septembre 2022
Jeux de la Francophonie Équipe Nouveau-Brunswick – Kinshasa, Congo – 30 septembre 2022
Centre Sagamie – 15 novembre 2022
Festival International du Film sur l’Art – Montréal – 31 octobre 2022
Caravansérail – Rimouski – 1er octobre 2022
Passages insolites – Québec – 3 octobre 2022
Centre Clark – Montréal – 1er octobre 2022
OFFTA – Montréal – 1er novembre 2022

2. appels en anglais du Canada

New Works XR Program 2022-23 – 30 septembre 2022
BIPOC Emerging Exhibition – 31 octobre 2022
Gallery 44 – Toronto – 30 septembre 2022
photoED Magazine – Toronto/internet – 19 septembre 2022
Monitor 15 – SAVAC – 1er décembre 2022
Queer Bath Zine – halifax – 30 septembre 2022

3. appels internationaux

Matadero Madrid Centre for Contemporary Creation – Madrid – 9 octobre 2022
apexart – NYC Open Call – 31 octobre 2022 et 1er mars 2023
CUVO Videoart Festival – Espagne – 30 septembre 2022

4. résidences

Nebulous Straits virtual residency – 27 septembre 2022
Est-Nord-Est – 13 novembre 2022
The Rijksakademie Residency – 1er octobre 2022
Max Planck Institute for Empirical Aesthetics – 16 octobre 2022
Northern Sustainable Futures – Norrbotten,  Sweden – 15 octobre 2022
Doris McCarthy Artist-in-Residence – Toronto – 30 septembre 2022

5. art public

Out of many, one – Mural project – Toronto – 15 octobre 2022
Installations for 2023 DesignTO Festival – Toronto – 23 septembre 2022
Indigenous Design, Art & Architecture in Toronto’s Port Lands – 29 septembre 2022
Six Public Art Opportunities – Orillia – 19 septembre 2022
Halifax Common Aquatics Facility – 19 septembre 2022
stadt.raum.experimente – Düsseldorf – 15 octobre 2022

6. pour commissaires

Est-Nord-Est – résidence pour auteurs – 13 novembre 2022
The New River – 30 octobre 2022
Manif d’art – jeunes commissaires – 2 octobre 2022
On Sadness – 19 octobre 2022
Esse art+opinion – Résilience – 10 janvier 2023
Vie des arts – Notes d’intentions – 10 octobre 2022
Artistic Director for SAVAC (South Asian Visual Arts Centre) – Toronto – 30 septembre 2022

7. emplois

Direction générale – L’Œil de Poisson – Québec – 26 septembre 2022
Responsable du programme éducatif public – OPTICA, centre d’art contemporain – Montréal – 20 septembre 2022
Director/Curator – Morris and Helen Belkin Art Gallery – Vancouver – 30 septembre 2022
Tenure-track opportunity in Expanded Drawing Practices, York University – Toronto – 11 novembre 2022
Director – Fundació Antoni Tàpies – Barcelone – 30 octobre 2022
Responsable du programme éducatif public / OPTICA, centre d’art contemporain – Montréal – 20 septembre 2022
Expanded Drawing Practices at the Assistant/Associate Professor – York University – Toronto – 11 novembre 2022

 

 

1. appels en français du Canada

Participez aux 9e Jeux de la Francophonie – équipe Canada

Vous aimeriez aller exprimer vos talents à Kinshasa, en République démocratique du Congo, du 28 juillet au 6 août 2023 ? 

Présentez votre candidature pour vous joindre à la délégation dynamique de jeunes artistes francophones de 18 à 35 ans qui représenteront le Canada aux prochains Jeux de la Francophonie. 

Jeunes artistes du Canada : au jeu !
Pour avoir la chance de faire partie de l’équipe, téléchargez la réglementation de la IXe édition de l’événement, ainsi que le guide d’inscription aux compétitions culturelles destiné aux jeunes talents qui souhaitent se joindre à Équipe Canada. 

Pour être admissibles, les candidatures doivent être présentées d’ici au 30 septembre 2022 par courriel, à l’adresse jeuxdelafrancophonie [arobas] conseildesarts [point] ca

À propos de la participation culturelle du Canada

Pour en savoir plus à propos des Jeux de la Francophonie, visiter www.jeux.francophonie.org.

•••••

Appel aux artistes : Faites partie de l’Équipe Nouveau-Brunswick

au IXèmes Jeux de la Francophonie à Kinshasa en République Démocratique du Congo, du 28 juillet au 6 août 2023

Les Jeux de la Francophonie, qui sont les seuls jeux internationaux importants à présenter des épreuves tant culturelles que sportives, offrent une occasion sans pareille de mettre en valeur la grandeur et l’originalité de la culture française en même temps que les capacités athlétiques dans les pays d’expression française partout dans le monde.

Les Jeux ont déjà permis à des milliers d’artistes des 80 États et gouvernements membres de la Francophonie de se produire sur la scène internationale.

DATE LIMTE DE DÉPÔT DES DOSSIERS : 30 septembre

Obtenez plus de détails et déposez votre demande ICI.

•••••

Dialogues croisés
 
Date de tombée :
15 Novembre 2022


Description
Loto-Québec et le Centre SAGAMIE invitent les artistes professionnels, émergents ou plus établis, de toutes pratiques en arts visuels, à soumettre un dossier dans le cadre du projet Dialogues croisés, commissarié par Julien St-Georges Tremblay. Ce projet d’exposition collective se veut l’occasion de créer des liens entre le milieu des arts actuels et certaines des 5 000 œuvres faisant partie de la Collection Loto-Québec.

Les quatre artistes retenues seront invitées à produire une œuvre originale. Ce quatuor de projets inédits sera joint à des œuvres provenant de la Collection Loto-Québec afin de créer une exposition collective. Ainsi, une vingtaine d’œuvres issues de la Collection Loto-Québec, toutes sélectionnées par le commissaire, seront conjuguées aux propositions des artistes choisis lors de cet appel.

L’identité de l’exposition sera le fruit des échanges entre le commissaire et les artistes ; tout en étant épaulé par l’équipe du Centre Sagamie, comme celle de Loto-Québec. La forme finale de ce projet collaboratif sera présentée au Centre SAGAMIE à l’automne 2023.

Modalités d’inscription
Les artistes qui souhaitent soumettre leur dossier doivent l’acheminer avant le 15 novembre 2022 à 23 h 59 (HNE). Le dossier doit comprendre les éléments suivants :

Un texte décrivant leur démarche artistique, maximum de 300 mots ;
Cinq (5) images d’œuvres récentes (fichiers jpg compatibles Mac RVB 1024 x 768 pixels par 72 ppi) ;
Un curriculum vitæ ;
La proposition doit être soumise dans un dossier compressé .zip ou via Wetransfer à : coordination [arobas] sagamie [point] com. Les artistes sélectionnés seront informés de la décision du jury au plus tard le 16 janvier 2023.

Échéancier
15 septembre 2022 : lancement de l’appel de dossier
15 novembre 2022 : fin de l’appel de dossier
16 janvier 2023 : dévoilement des artistes sélectionnés
17 août à 10 octobre 2023 : exposition au Centre SAGAMIE (Alma)

Modalités financières
Cachet de 1500 $ pour la production de l’oeuvre / par artiste
Cachet d’exposition CARFAC pour la durée de la présentation

Modalités techniques
Soutien technique offert par le Centre SAGAMIE
Accompagnement offert par le commissaire et Loto-Québec

Lien

•••••

Festival International du Film sur l’Art (Le FIFA)
31 octobre 2022
/ Montréal (Québec)
 
La période de soumissions est en cours pour la 41e édition du Festival International du Film sur l’Art (Le FIFA), qui se tiendra en salle et en ligne, du 14 au 26 mars 2023. Les activités et rencontres pour les professionnel·le·s se tiendront majoritairement du 15 au 17 mars, l’an prochain.

Cet appel à soumissions s’adresse aux réalisateur·rice·s, producteur·ice·s, distributeur·ice·s, qui ont terminé ou termineront prochainement un film sur l’art, une fiction sur l’art, un film biographique, un documentaire, une captation, une vidéo d’art, de l’art médiatique ou un vidéoclip. Ces derniers pourront ainsi présenter leur(s) œuvre(s) en première à Montréal. Le formulaire de soumission doit être complété à cet effet avant le 31 octobre 2022.

En savoir plus

•••••

Programmation / Caravansérail
1er octobre
/ Rimouski (Québec)
 
SAISON 2024-2025

CARAVANSÉRAIL INVITE LES ARTISTES DE LA RELÈVE ET DU BAS-SAINT-LAURENT À SOUMETTRE LEURS PROJETS D’EXPOSITION POUR SA PROGRAMMATION 2024-2025

DATE LIMITE : 1ER OCTOBRE 2022
PÉRIODE DE DIFFUSION : ENTRE SEPT. 2024 ET JUIN 2025

TÉLÉCHARGER L’APPEL EN FORMAT .PDF

Caravansérail recherche des propositions variées dans le but de constituer une programmation annuelle représentative de l’étendue des pratiques actuelles en arts visuels. Privilégiant la recherche et l’expérimentation, le Centre invite les artistes à présenter des projets inusités, audacieux. C’est le temps de prendre des risques, de repousser les limites de votre pratique et d’emprunter des avenues inédites !

Caravansérail consacre de grandes énergies à la démocratisation des pratiques artistiques et à l’accueil de multiples publics. Rendre l’art actuel accessible au plus grand nombre en jouant un rôle de médiation, d’éducation et de vulgarisation est au cœur de nos préoccupations. Nous invitons ainsi les artistes à réfléchir à la place que leur travail peut prendre dans un projet plus large, celui de faire de Caravansérail un espace de rencontres, de dialogues et de découvertes.

Caravansérail
274 rue Michaud
Rimouski (Québec) G5L 6A2
+1 418.722.0846
communication [arobas] caravanserail [point] org
http://www.caravanserail.org/

•••••

Appels de dossiers
10e édition de PASSAGES INSOLITES (2023)

Alors que la neuvième édition de PASSAGES INSOLITES bat son plein, l’équipe d’EXMURO arts publics prépare la prochaine itération de son événement phare en arts publics éphémères. La dixième édition de PASSAGES INSOLITES aura lieu dans la ville de Québec au cours de l’été 2023.

Date de tombée : lundi le 3 octobre 2022 à 16h59 (HE)

Lien

•••••

DATE LIMITE /
1ER OCTOBRE 2022
 
Le Centre CLARK invite les artistes, les collectifs et les commissaires à soumettre un projet d’exposition dans le cadre de notre appel de dossiers général pour la programmation de septembre 2023 à juin 2024. Qu’il s’agisse d’exposer les œuvres d’artistes émergents ou aguerris, locaux ou internationaux, CLARK soutient une pluralité d’approches et de pratiques artistiques novatrices et expérimentales. Notre programmation annuelle présente une multiplicité de voix, de perspectives, d’héritages, de points de vue et d’expériences qui se traduisent en autant de formes d’art actuel. Cette multiplicité se concrétise entre autres par l’inclusion d’une pluralité culturelle, par l’échange intergénérationnel et par l’équité des genres.

Le centre possède deux espaces d’exposition (pour plus de détails, veuillez consulter le plan de la galerie). Nous offrons une salle par soumission, sauf pour certains projets de groupe qui se verront exceptionnellement attribuer les deux salles. CLARK est aussi sensible aux questions environnementales ; ainsi, le comité de programmation prendra celles-ci en considération lors de l’évaluation des dossiers. À titre d’exemple, la construction de murs en gypse et la peinture complète des salles ne sont pas encouragées, sauf si cela est essentiel au projet.

Les dossiers seront étudiés et sélectionnés par un comité de programmation diversifié formé de membres artistes et de commissaires du centre, ainsi que d’une partie de l’équipe de CLARK.


Tous les détails ICI

•••••

OFFTA 2023
APPEL À PROJETS
Date limite pour postuler : 1er novembre 2022, 23h59

L’équipe du OFFTA est actuellement à la recherche de propositions pour élaborer la programmation de sa 17e édition qui se tiendra fin mai/début juin 2023.

Ce festival permet à des artistes de partager des performances qui déplacent les festivalier.ière.s et défrichent des nouveaux espaces artistiques. Les œuvres soutenues questionnent, transforment et résistent aux aprioris. Le OFFTA offre une plateforme aux artistes de la relève qui, ne cherchant ni le consensus ni ne parlant d’une seule voix, déploient leurs pluralités et contribuent au renouvellement des modèles établis.

Lire la suite

 

 

 

 

 

 

2. appels en anglais du Canada

Open Call : New Works XR Program 2022-23

XR (extended reality) is an umbrella term encompassing augmented (AR), virtual (VR),
and mixed reality technologies.

The program will provide support for dance makers and embodied practitioners in the
early stages of creation involving XR technologies. The XR Program will resource the
development of up to 4
XR projects with skills building workshops, mentorship with senior
artists, consultation with technologists, access to gear and studio space, and XR
resource sharing. With a focus on process, research, and capacity building XR
participants will engage in one-on-one consultations with New Work’s XR network and
learn alongside peer artists over an 8 week period in early 2023.

Visit the New Works website for full details and application form.

•••••

BIPOC Emerging Exhibition

Deadline : October 31, 2022 11:59 pm PST

The exhibition will be celebrating dynamic, cultural relationships and showcasing the
complex interactions between emerging and diverse artists.

We are looking for emerging BIPOC
artists who explore their personal identity through
artmaking and experimenting creative ways on broadening perspectives. The exhibition
seeks to collaborate with underrepresented and marginalized artists whose work
speaks to their diverse, complex, and various intersectional experiences.

Priority is given to : BIPOC artists, LGBTQIA2S+ and all underrepresented visual
artists. Artists with disabilities are strongly encouraged to apply.

Please forward your application and submission information (images, artist statement,
biography, and contact information) to : shanna [point] cheng [arobas] hotmail [point] com.

Submission Requirements

All submissions must include :

1-5 images at 72 DPI (including name, title, date created, and size dimensions) OR
short video in MP4, MOV, AVI, etc. format
Include Image List
Artist Statement
Artist Biography
Name, address, and email for contact information
Please include in subject line : Name, Emerging BIPOC Exhibition

If you have any questions about this Call for Artists,
feel free to email me or contact Il
Museo and Gallery at (604)-430-3337 and I will be happy to answer any questions.

Contact :

Shanna Cheng (she/her)
Curator at Il Museo and Gallery
shanna [point] cheng [arobas] hotmail [point] com
(604)-430-3337

•••••

Gallery 44 | Proof 29
Deadline : Friday, September 30, 2022

Proof is Gallery 44s annual group exhibition of work by emerging* Canadian artists,
reflecting a range of current concerns and practices in contemporary photography
and lens-based media. Proof is often one of the first exhibitions in a professional
context for an emerging artist. Past exhibitions have featured work by Kotama
Bouabane, Leila Fatemi, Isabelle Hayeur, Anique Jordan, Laurie Kang, Germaine
Koh, Luther Konadu, Meryl McMaster, Karice Mitchell, Elise Rasmussen, and Althea
Thauberger. Proof 29 will take place in late spring, early summer with an opening
date in June 2023.

The submissions received through the Proof open call are juried by Gallery 44s
Exhibitions Programming Committee (EPC) and a Proof artist from the previous
year. The committee is composed of the Executive Director, the Curator of
Exhibitions and Public Programs, two community members, two Gallery 44
members, and one board member. Every submission is considered. Together, the
EPC and the past Proof participant create a shortlist and then decide on the
successful applications.

*Emerging artists are defined as being in the early stages of their professional
career, have produced a small body of work and achieved some local recognition
and/or have limited public exhibition experience. Generally, they have had between
0 and 5 years of professional arts practice.

For more information on how to apply visit : https://www.gallery44.org/calls/proof-29
http://gallery44.org/

•••••

Call for Submissions : Photo-based Botanicals
photoED Magazine, Toronto/Online

Deadline : September 19, 2022

photoED Magazine’s Winter 2022 print and online issue will feature the work of photographers exploring botanicals. The magazine will publish original, artistic, lens-based ideas that challenge us to see the botanical world around us in a new way. Submissions are open to any level of photographer and are free for photoED Patreon patrons and subscribers.

Read more

•••••

SAVAC Open Call : MONITOR 15

Open Call : MONITOR 15
Deadline : December 1, 2022

SAVAC is pleased to announce the 15th edition of our long-standing experimental film and video program MONITOR, which will be programmed by Faraz Anoushahpour.

MONITOR is dedicated to the presentation of experimental short films and videos that initiate dialogue around the shifting nature of politics, economies and landscapes across the Global South and its diasporas. For its 15th edition, we invite artists and filmmakers to submit independent and innovative short films and videos that explore the aesthetic and form of the moving image and its relation to narrative. MONITOR 15 encourages new, experimental and risk-taking work that challenges the viewer’s active engagement.

Selected works will be screened throughout 2023 in Toronto, Canada and will subsequently tour nationally and internationally.

GUIDELINES

Works must be under 20 minutes and produced in or after 2020. Submissions from first time directors are welcome. Artist fees will be paid. Submissions must include all of the following :

Name of artist or director
Address, phone, email, website
Title of work
Date of production (no earlier than 2020)
Brief synopsis of the work (300 words max)
Brief biography of the artist (200 words max)
Artist CV
3 High-resolution production stills


SUBMISSIONS
Submit your application here.

We recommend all applicants read more about the scope of SAVAC’s programming and consult past editions of MONITOR for reference. Please note that only selected artists will be contacted by early 2023. Inquiries can be sent to Executive Director Indu Vashist at indu [arobas] savac [point] net with the subject title : MONITOR 15.

•••••

Queer Bath Zine Call for Submissions !

*Note there has been some information and spelling updates since our previous newsletter*

Submissions are due September 30th 11:59pm ADT

Eyelevel is partnering with Adrien Crossman to publish Queer Bath Zine : a collaborative photography project that archives moments of queer and trans self-care.

Conceived in the summer of 2020, the project began as a response to the isolation felt during the first few months of the pandemic. Queer Bath Zine explores how bathing can be a space that allows queer and marginalized individuals to create their own environments of care and safety – especially when that care is deeply lacking from the systems and institutions meant to support us. The project explores bathing as a queer act, whether in a social or cruising context, an intimate setting with a partner or caretaker, or solo.

For this call, we are looking for photos of queer bodies bathing –in the tub, the shower, outdoors, in a bathhouse/steam room, etc. The concept can be interpreted in many ways and the photos can be as abstract/anonymous or identifying as you like. They can be of a solo bather or of multiple bodies/body parts. They don’t only have to be of bodies getting clean.

Things that may come to mind when thinking about this project : self-care, kink, bath bombs, coloured lighting, trans and non-binary bodies, body hair, bubbles, water sports, rubber duckies, moments of self-care as a means of safety and survival.

A number of submissions have been collected to date, and we are now extending the call to those living in Kjipuktuk (Halifax) and the surrounding areas.

For more details and submission guidelines, please click the LINK

***Please note that we, unfortunately, have limited space for participants. Not all submissions will be chosen. Once submissions close, Adrien will be going through them to decide and will notify folks upon the decision***

Send submissions to adriennecrossman [arobas] gmail [point] com

Follow more of Adrien’s work @fakechildhood

 

 

 

 

 

 

3. appels internationaux

Call for projects : The Metabolic Sublime

Application deadline : October 9, 2022, 11:59pm

Matadero Madrid
Centre for Contemporary Creation
Pº de la Chopera, 14
28045 Madrid
Spain
Hours : Tuesday–Friday 5–9pm,
Saturday–Sunday 12am–9pm


T +34 913 18 46 70
info [arobas] mataderomadrid [point] org

www.medialab-matadero.es
sublimemetabolico.medialab-matadero.es

New energy models, agri-logistic automation, ecosystem resilience, territorial instrumentalisation, residual circularity, decarbonisation, geoengineering… Medialab Matadero is now opening the call for proposals that address the theme of its new LAB#02 “The Metabolic Sublime,” which urges us to radically reimagine current energy regimes on a planetary scale, and to design the protocols, tools, institutions, cultures and/or dynamics that would make them possible.

The projects will be developed in a two-week intensive workshop coordinated by renowned international experts and artists who may be joined by collaborators from different disciplines and backgrounds.

The authors of the selected projects will be able to travel to Madrid with all expenses covered  for the duration of the workshop, which will take place in person in the facilities of Medialab Matadero, from January 25 to February 11, 2023.

Following the workshop, the results will be unveiled at a public event within Medialab Matadero’s OpenLab festival, which will take place in Madrid between February 10 and 11.

What kind of projects are we looking for ?
We are interested in all kinds of projects—from highly technical to other more experimental ones—no matter their stage of development—from incipient ideas to projects in their final stages of definition and testing—that would benefit from the context of collaboration and co-creation offered by Medialab. The only proviso is that they must address the LAB#02 theme of “The Metabolic Sublime.”

This includes proposals that encourage the invention, construction and deployment of alternative metabolic systems and mechanisms regardless of the scale at which they operate, advancing research in both micro-scale frameworks—the generation of new materials, energy production systems, molecular engineering, carbon capture mechanisms or bio-manufacturing—and macro-scale frameworks—alternative governance models, radical logistical protocols, institutional design, new platforms, circular longtermism or geo-engineering-.

Who can apply ?
This call is open to individuals and groups with any level of qualification and from such diverse disciplines as design, art, architecture, urban planning, economics, film, photography, journalism, digital media, environmental sciences, philosophy, engineering, social studies, political sciences, programming, materials science, activism or indeed any other field.

Priority will also be given to applicants who do not have a degree or any institutional affiliation but can demonstrate a high level of creativity, critical thinking and other potentiality. There is no age limit for applicants. We do not ask for a CV or letters of recommendation.

For more information about the call for projects, click here. Or visit the “The Metabolic Sublime” website.

Applications are open until October 9, 2022.

•••••

NYC Open Call application period : October 1–31

apexart
291 Church Street
New York, NY 10013
USA
Hours : Tuesday–Saturday 1–6pm


T +1 212 431 5270
info [arobas] apexart [point] org

apexart.org

2022–2023 open calls
apexart open calls present an opportunity for creatives everywhere to turn their idea into an apexart exhibition. The open calls use an online selection process drawing more than 1,000 proposals that are voted on anonymously by over 800 people around the world. Winning proposals become apexart exhibitions, receiving a budget of up to 10,000–11,000 USD, and apexart staff support to produce a focused, idea-driven exhibition. Learn more about how to submit a proposal, be a juror or be part of the classroom juror process.

October 1–31, 2022
apexart NYC Open Call accepts proposals
Five winning proposals are awarded a budget of up to 10,000 USD and become part of apexart’s 2023–2024 exhibition season in New York.

February 1–March 1, 2023
apexart International Open Call accepts proposals.
4 winning proposals are awarded a budget of up to 11,000 USD and become part of apexart’s 2023-2024 international exhibition season.

•••••

CUVO Videoart Festival 2023 Open Call
 
Category : Conceptual, Digital, Video
 
Location : Spain
 
Deadline : September 30, 2022
 
Learn More

 

 

 

 

4. résidences

Call for Proposals – ‘Nebulous Straits’ Virtual Residency

The curatorial collective Diasporic Futurisms seeks proposals from Canadian artists to participate in Nebulous Straits Virtual Residency.

Artists working with themes of alternative realities, erased histories, and possible futures are encouraged to apply. As the contemporary socio-political moment increasingly mirrors the dystopian speculative fictions of our upbringings, we look to the future to reclaim the possibility of leaning into greener pastures.

The residency will offer :

– Artist, production and presentation fees
– Group discussions, readings and screenings
– Workshops and visiting artist talks
– Public Digital exhibition and livestream event

Nebulous Straits will facilitate space for artists of a wide variety of disciplines, including musicians, performers, graphic artist, video artist, filmmakers, among others, to develop and create new artworks that respond to themes of diasporic futurisms. We welcome proposals for new or ongoing projects to be developed in community with the other residents. We will be tailoring programming for the needs and interests of our residents.

Nebulous Straits is supported by the Toronto Arts Council and Canada Council for the Arts.

If you have any questions please email info [arobas] diasporicfuturisms [point] com

About Diasporic Futurisms :

Diasporic Futurisms is a collaborative curatorial team comprised of Adrienne Matheuszik and Vanessa Godden. This collaborative curatorial endeavor works to create space for racialized and marginalized peoples whose artworks are based in the genre of diasporic futurisms.

Matheuszik and Godden define diasporic futurisms as the presentation of alternative perspectives of the present, predictions of the future, and creative approaches to reimagining the past. Within the movement of diasporic futurisms, the destabilization of white-supremacy, colonisation, and capitalism in relation to the lives of diasporic peoples are a primary concern. In diasporic futurisms, these concerns are materialized through the genres of Fantasy, Magical Realism, Science Fiction, Speculative Fiction, and related subgenres.

The collaborative team, Diasporic Futurisms is radically reimaging and reimagining diasporic futurisms in the arts through the impact of a global pandemic and the increased visibility of police brutality. Diasporic Futurisms is continually working to build immersive and inclusive arts experiences that radically resist patriarchal, heteronormative, ableist, and racist oppression.

Submission Guidelines :

Please submit via email to diasporicfurturisms [arobas] gmail [point] com
Due by September 27 before 11:59pm est

– Artist Bio (100 words) and CV (1 page)
– Project Proposal describing project and how it relates to body of work and research interests
– Website/Social Media/Portfolio links
– Support Images : Sketches, work in progress, past works

•••••

Appels de dossiers 2023-2024

Appels de dossiers
Jusqu’au 13 novembre 2022
ENE lance ses appels de dossiers destinés aux artistes et auteur.e.s pour sa programmation 2023- 2024 !

Périodes de résidence : 

Printemps : du 17 avril au 9 juin 2023 
Été : du 3 juillet au 25 août 2023 
Automne : du 18 septembre au 10 novembre 2023 
Hiver : du 29 janvier au 22 mars 2024

La résidence de 8 semaines inclut :des droits de résidence de 1734$ CA ;
l’occupation d’un studio-atelier individuel servant d’espace de travail et d’hébergement ;
l’accès à des équipements spécialisés (bois, métal, céramique) ;
l’accès à un centre de documentation (ouvrages, revues) ;
l’accès à des ressources locales ;
un soutien technique et logistique ;
l’accès à un vélo (en saison) / à un transport local ponctuel en période hivernale.
* Les matériaux, les frais de déplacement et autres frais de subsistance sont à la charge des résident·e·s.
 Soumettre un dossier avant le 13 novembre 2022, à 23h59
 
Détails et formulaire d’application

Est-Nord-Est reconnaît l’importance de la rencontre d’une multiplicité de formes d’expressions artistiques et culturelles. Dans le processus de sélection, une importance sera accordée à la mixité culturelle, générationnelle, sexuelle et identitaire. Dans cet esprit d’inclusion, nous encourageons les artistes et auteur.e.s issues de groupes sous-représentés, marginalisés et minoritaires à déposer un dossier.

Soutien aux artistes marginalisé·e·s :

Si vous souhaitez déposer un dossier dans un format autre qu’écrit, veuillez nous contacter à info [arobas] estnordest [point] org ou au 418-598-6363 ;
Une séance de mentorat virtuel est possible sur demande afin d’obtenir un soutien pour la préparation de votre dossier en lien avec cet appel. Veuillez en faire la demande à info [arobas] estnordest [point] org avant le 1er novembre.

•••••

Apply for The Rijksakademie Residency 2023/2024
The Rijksakademie welcomes applications from artists to develop their work over one or two-year periods in Amsterdam, starting from September 2023.
Thursday 21 July 2022 12:00
The Rijksakademie houses a highly international, multi-disciplinary, experimental and critically engaged artist community. Residents are supported with a studio, a work budget and a stipend and benefit from an array of opportunities for exchange, including peer to peer dialogue and visits from a wide range of leading artists and art professionals. They have access to technical workshops as well as a social practice workshop, an extensive library and a historical collection. There is guidance by (technical) specialists, who foster hands-on, innovative and collaborative approaches to making.

Selected artists usually have finished a BA/MA education, and must have at least 2–3 years of independent professional practice before starting a residency at the Rijksakademie.

Every year, about 22 places become available. Residents are to be selected for the period September 2023–August 2024, with the possibility of staying one year more. Applications are done via an online form on their website starting from 1 September 12:00 AM until the deadline on 1 October 2022 at 11:59 PM.

Visit  website for more information.

•••••

INHABIT 2023
The Max Planck Institute for Empirical Aesthetics invites artists to collaborate with their team of scientists and researchers.
Tuesday 6 September 2022 12:00
The INHABIT Artist in Residence Program of the Max Planck Institute for Empirical Aesthetics invites artists from various disciplines to collaborate with their team of scientists and researchers. The integration of artistic thinking and knowledge as reflective practices in their own right is an important dimension of the institute’s mission. For this the presence of art and the inspiration and challenge of artistic practice are essential. The interaction between the different perspectives creates a mutually productive space for both artists and scientists to work in.

For this reason, INHABIT invites artists to spend three months creating new work, or further developing an existing project, in a scientific research environment. Openness to the mission of the institute and interest and readiness to work together with individual researchers or research groups are naturally preconditions. During the residency, the institute will provide space, resources, and facilities for productive experimentation, dialogue, and collaboration. Work developed during the residency will be presented in cooperation with various local arts institutions in the form of an exhibition, performance, concert, or other mode of presentation, and complemented by discursive formats.

The duration of residency is 4 months : INHABIT #9 : March–June 2023 and INHABIT #10 : September–December 2023.

Who are they looking for :

Artists from different disciplines (with a focus on time-based and performing arts, installation and music) who are interested in interdisciplinary collaboration between the artistic and scientific fields ;
Artists who are open to developing and sharing a project in the form of an exhibition, performance, concert, or other format ;
Artists who are active in contemporary culture and respond to the Institute with innovative and challenging ideas.
The residency covers :

Artist’s fee : 8,000 euros ;
Accommodation fee : 2,000 euros ;
Production budget depending on the project ;
Technical and administrative support for the realization of the final project.
Travel costs to/from and in Frankfurt ;
Collaboration with scientists and researchers ;
Access to the Institute’s library, sound studio, and scientific facilities ;
Curatorial support during the residency.


Please upload, no later than October 16, 2022, 23:59 p.m. (CET) your complete application, including :

your CV
an artist’s statement describing your practice, concepts, and methods, etc. (max. 500 words)
a description of the proposed project that outlines potential connections with the work of the Institute and the scientific interest (max. 500 words)
a portfolio of your work (max. 20 pages).

•••••

Northern Sustainable Futures : Call Out for Digital Artists
International

Northern Sustainable Futures, based in Moskosel Creative lab in Norrbotten, Northern Sweden, have an open call for 1 month artist residencies to create new immersive digital work for their latest project iM KONSTHALL, an immersive mobile gallery which will tour 2023/24.

NFS invites proposals from visual and performance artists working in digital technologies. Each residency includes accommodation and workshop space, and gives time for each artist to develop their idea into new work created specifically for the mobile gallery space.

Please visit our website below for more information.Contact
email imkonsthall [arobas] gmail [point] com
website www.imkonsthall.com/

•••••

Doris McCarthy Artist-in-Residence program

About the program :
Located at her former home on the Scarborough Bluffs in Toronto, the Doris McCarthy
Artist-in-Residence program provides studio space and accommodation to artists in a
serene and picturesque setting where they can focus on producing art. This residency
program is open to professional artists across Canada who are practising a wide array of
disciplines. Residencies are available throughout 2023, with terms ranging from one to
three
months.

The Doris McCarthy Artist-in-Residence program is coordinated by the Ontario Heritage
Trust. In accordance with Doris McCarthys wishes, the Trust established this artist-in-
residence program to embrace the multi-disciplinary nature of the arts, demonstrate the
positive and restorative influence of landscape and the environment, and foster
excellence among contemporary Canadian artists, musicians and writers. As part of the
residency, artists are required to provide a mentorship opportunity to support the
development of an emerging artist or artists.

Application deadline : September 30, 2022

Learn more :
http://heritagetrust.on.ca/dmair

 

 

 

 

 

5. art public

The “Out of Many, One” Mural Project
Submission Deadline : October 15, 2022

Project Background

The University of Toronto Scarborough (UTSC) is partnering with Nobellum Enterprise and The Ubuntu Creative Arts Project (UCAP) to commission an art installation located in The BRIDGE Finance & Data Lab at UTSC’s Instructional Centre. Artist(s) are invited to submit proposals for a large-scale three piece paneled mural meant to serve as a site for community programming.

This project aims to foster a deeper sense of belonging amongst UTSC’s racialized communities. We seek to create a space where students, faculty, staff, and communities, including Black folks, who were traditionally equity-deserving in academic spaces, see themselves fully welcomed, embraced, and reflected. The commissioned artwork is meant to interrupt the space and systems within the fabric of the Department of Management located in the Instructional Centre, and will be activated through programming and community engagement initiatives.

Location Details

The BRIDGE is in the Instructional Centre at the University of Toronto Scarborough. 1095 Military Trail, Toronto, Ontario. The venue is accessible.

Project Goals

The installation and production of this artwork aims to accomplish the following :

To inspire and serve as a space of belonging for equity-deserving students pursuing futures in finance, STEM, and entrepreneurship.
To create a meaningful site of activation for programming committed to inclusion and anti-Black racism.
To provide mentorship opportunities for racialized artist(s) in Scarborough communities throughout the production of the work and beyond.
To support an equitable engagement and reciprocal knowledge exchange between racialized communities and the Department of Management, and UTSC as a whole.
Eligibility

In order to be considered :

This call is open to professional racialized artists or artist groups. The project seeks to engage students of colour, specifically Black students. Artists who come from such communities will be given preference.
Artists must be located in the Greater Toronto Area, with preference given to Scarborough artists.
This project seeks artist(s) who have a working history of social practice, community engagement, and/or large-scale public artwork.
The selected artist(s) must be available for ongoing communication with The BRIDGE Mural Project Team by telephone, email, video conferencing, and in person for scheduled meetings and programs for the duration of the project.
The selected artist(s) will be expected to be proficient in all professional aspects relative to their creative work, including : working under contract, working within schedules, meeting deadlines, providing complete and accurate documentation, budgeting, expense tracking and invoicing related to their work.

Scope of Work

Initial site visit and overview meetings with The BRIDGE Mural Project Team
Development of project outline including conceptual implications, process, scale, medium, and associated programming
Community engagement process – our goal for this project is to be community-oriented from its onset, through its development, and in its completion. The BRIDGE Mural Project Team will support the artist(s) in developing whatever community engagement components their practice calls for throughout the development of their work.
Attendance of internal meetings with The BRIDGE Mural Project Team
Attendance of any related programming throughout the production process
Attendance of the mural unveiling event
Reference the Appendix with the dimensions of the wall


Submission Requirements

A project proposal – proposed artwork concept : A written description of proposed concept, including a process method and approach.
Portfolio of similar work completed. Work must be of similar scope / scale.
Artist bio / professional statement. This must include the links to any websites and social media.
Artist’s CV
The University of Toronto Scarborough is strongly committed to diversity within its community and especially welcomes applications from racialized persons/persons of colour, women, persons with disabilities, 2SLGBTQ+ persons, and others who may contribute to the further diversification of ideas. Candidates are encouraged to self-identify in their submissions.
The University of Toronto Scarborough aims to make the selection processes as accessible as possible and provide accommodation for artists with disabilities. If you require any accommodations at any point, please outline your accessibility needs in your submission.
Project Timeline

RFP Submission Opening : September 9, 2022
Deadline for Artists to Submit questions (if applicable) : September 20, 2022
Response to Artist Questions : September 25, 2022
Artist Proposal Submission Deadline : October 15, 2022
Review Period : October 15 – November 15, 2022
Artist Selection : November 15, 2022
Kick-Off Meeting with Artists & Project Team : November 30, 2022
Community Engagement Sessions 1 – 3 : November – December 2022
Production & installation of artwork : January – March 2023
Launch Event : Spring 2023
Project Budget

The commissioned artist(s) will receive an honourarium fee of $8,000 Canadian Dollars. Fabrication and installation costs are covered by the University and are not included in this proposal.

 

Reserved Rights of the The BRIDGE Mural Project Team

UTSC, Nobellum Enterprise and, The Ubuntu Creative Arts Project (The “The BRIDGE Mural Project Team”), at their sole discretion, may request clarifications or request additional information, as deemed necessary to evaluate the submissions. The Project Team retains sole discretion to determine whether a submission is responsive if the prospective Artist(s) is / are capable of performing the Work. The Project Team reserves the right, at its sole discretion, to determine the number of pre-qualified Artist(s). The Project Team reserves the right to not proceed with awarding a contract.

Termination of Contract with Artist(s)

The Project Team reserves the right to terminate the contract just cause as per the Terms of the Artist Agreement which will be distributed to the selected artists upon award of the contract.

Publication of Competition Information

The Project Team shall have the exclusive right to issue all public announcements regarding the mural.

Appendix : Elevations, Photos and Dimensions Space

Visit this page to find the images and details on the space.

Submission & Contact Information

All submissions must be packaged and submitted via email to BOTH contacts noted below with the Email Subject Line : Artist Proposal – “Out of Many, One” Mural Project

Kathryn Lawrence, Founder, The Ubuntu Creative Arts Project & Co-Founder and Brand Director, Nobellum Enterprise kathryn [arobas] nobellum [point] com

Sandy Saad, Curator, University of Toronto Scarborough Doris McCarthy Galley sandy [point] saad [arobas] utoronto [point] ca

•••••

Call for Proposals : Installations for 2023 DesignTO Festival
Yonge + St. Clair BIA, Toronto

Deadline : September 23, 2022

The Yonge + St. Clair BIA is seeking proposals for medium to large-scale art installations to be displayed in three installation locations as part of the 2023 DesignTO Festival. Visual artists, sculptors, designers, architects, and others are welcome to submit proposals. Selected submissions will receive $3K – $5K.

Read more

•••••

Request for Prequalification : Indigenous Design, Art & Architecture in Toronto’s Port Lands

Call to Indigenous Designers, Artists & Architects
Request for Prequalification : Original Designs for Park Features at the Mouth of the Don River
Calling Indigenous designers, artists, & architects ! Waterfront Toronto is looking to engage you in the design of original park features at the new mouth of the Don River.

Waterfront Toronto is seeking Indigenous architects, designers and artists to create a series of features in the new mouth of the Don River, now under construction in the Port Lands. We’re looking for creative and talented collaborators who can work with the Port Lands Flood Protection project team to develop designs that can be successfully integrated into existing plans. Five specific park features will be commissioned through this process.

 

Applicants must be Indigenous artists, architects or designers (e.g. graphic designers, industrial designers, sculptors, visual artists, text-based artists, sound artists) with a history of commissions for their creative work, a background including specialized training (academic or traditional) in design or visual art, and community or peer recognition as a professional designer or artist.

This Prequalification is the first stage in a two-stage process to commission the design of integrated features within the landscape of three future parks and valley lands at the mouth of the Don River. A small number of applicants will be shortlisted for each of the park features and invited to submit a proposal. An honorarium of $500 in Canadian funds will be provided to each shortlisted Applicant that submits a compliant proposal in response to the subsequent RFP to compensate for expenses.

 

Waterfront Toronto is seeking creative and talented collaborators who can work with the Port Lands Flood Protection (PLFP) project team to develop designs that can be successfully integrated into existing plans. Five specific park features will be commissioned through this process. The anticipated all-inclusive budget for all five of these features is $1.5 million to $1.75 million, including the design work in this call, fabrication and installation.

Submission deadline : September 29, 2022

More information

Contact : procurement [arobas] waterfrontoronto [point] ca

Waterfront Toronto
1310 – 20 Bay St.
Toronto, ON, M5J 2N8

Facebook : @WaterfrontToronto
Instagram : @waterfront.to
Twitter : @WaterfrontTO

•••••

Call for Proposals : Six Public Art Opportunities, City of Orillia

Call for Artists : Six Sites for Public Art, City of Orillia
The Art in Public Places Committee (APPC), administered by the Orillia Museum of Art & History (OMAH) on behalf of the City of Orillia, is seeking proposals from visual artists and visual arts teams for permanent public art to be located at six (6) sites throughout the City. Artists with experience creating innovative public art that is functional, inclusive, and accessible are strongly encouraged to apply.

Site #1 – Wilson Point Trail Intersection
An entry point to the City from Severn Township.
Artist Fee : up to $10,000

Site #2 – Fittons Road Trail Intersection
The area is a busy artery running East to West, connecting trail users and visitors to Ward 4 businesses.
Artist Fee : up to $35,000

Site #3 – Orillia Recreation Centre (ORC)
Located within the heart of Orillia, along the City’s trail system, connects visitors to the downtown and Ward 1 and 2 businesses.
Artist Fee : up to $45,000

Site #4 – Stormwater Pond
The area is a southern entry point to the City from the Township of Oro-Medonte, and connects trail users and visitors to Ward 3 businesses. It is near the busy conservation area of Scouts Valley and the West Orillia Sports Complex. Three pieces are being commissioned, one for each trailhead.
Artist Fee : up to $30,000 total

Site #5 – James Street Trail Intersection
The area is another entry point to the City from the Township of Oro-Medonte to the West, and connects trail users and visitors to Ward 2 businesses.
Artist Fee : up to $20,000

Site #6 – Atherley Road Trail Intersection
The area is an entry point to the City from Ramara Township and The Chippewas of Rama First Nation, and connects trail users and visitors to Ward 1 businesses.
Artist Fee : up to $25,000

Artist Fees are inclusive of 50 % of the non-recoverable portion of HST.

The overall project budget of $276,000 is for all related expenses including, but not limited to : artist fees, all applicable taxes, detailed renderings, materials, technical consultations and approvals or other expertise as required, fabrication, installation, insurance, equipment, travel to meetings and to the site, and signage.

Theme

This call for submissions is part of a larger public art project within the City of Orillia inviting artists to creatively interpret the theme : CROSSROADS, CONNECTIONS, and INTERSECTIONS. The theme builds on the City’s strategic location along the shores of Lakes Couchiching and Simcoe, and the Trent-Severn Waterway. It is the heart of the four communities of Oro-Medonte, Ramara, Severn and The Chippewas of Rama First Nation ; Highways 11 and 12 its arteries leading you anywhere you want to go in Canada and beyond.

Submissions should reflect the importance, benefits and opportunities of building a better future for all through inclusion, collaboration and knowledge sharing. Themes include, but are not limited to, one or more of the following :

The environment
The water
Sustainability
Our history
Truth and Reconciliation
Transportation – water, land, air
Inclusivity & diversity
Health & wellness
Recreation & leisure
Four season destination
Bases and interpretive signage will be provided by the APPC, in consultation with Artists. Proposed bases for each site will be available to view on OMAH’s website.

Timeline

Stage One (Proposal) Deadline : Monday, September 19, 2022
Stage Two (Conceptual Design) Deadline : Monday, October 31, 2022
Award : Wednesday, November 16, 2022
Anticipated Installation Date : March 31, 2023 (subject to change based on conditions)

Submission Requirements

Please send via email :

Stage One : Proposals

Brief artist statement outlining interest in the project, Site #, and general artistic approach.
2-3 images/sketches of the proposed work.
CV or resume including current contact information, relevant artistic experience, and a list of 3-5 previously completed works that best reflects your proposal with title, date, medium, images, and location.
Proposed Artist Fee, not to exceed the maximum Artist Fee listed for each site.
Send all submission materials via email to executivedirector [arobas] orilliamuseum [point] org with the subject line YOUR NAME_SITE NUMBER_Public Art Proposal. If submitting more than one proposal, please send it as a separate submission.

Stage One proposals will be accepted until Monday, September 19, 2022, 11:59pm.

Short-listed artists will be determined by jury and invited to proceed to the next stage.

Stage Two : Conceptual Design

Short-listed artists will be paid a fee to submit a completed conceptual design proposal in line with the Terms of Reference project document provided by the APPC.

To learn more about the call and objectives that the jury will consider, please visit the Art in Public Places page on OMAH’s website.

For more information or questions about this call for submissions, please contact :
Ninette Gyorody, Executive Director

705 326–2159 x101 | executivedirector [arobas] orilliamuseum [point] org

Orillia Museum of Art & History
30 Peter St. S.
Orillia, ON L3V 5A9

About the City of Orillia

The City of Orillia is a community of 31,000 people in the heart of Ontario’s Lake Country on the shores of Lake Couchiching and Lake Simcoe.

About APPC

The Art in Public Places Committee was established in 2018 to manage the City’s public art program following Policy 1.12.6.1 – Art in Public Places. The Committee is administered by the Orillia Museum of Art & History the Council and makes recommendations to City Council on the acquisition, maintenance, and deaccession of public art.

About OMAH

The Orillia Museum of Art & History (OMAH) is a fully accessible hub of culture and heritage located in the heart of Orillia’s Arts District. OMAH offers a wide range of interpretive programs complemented by a body of rich and engaging exhibitions. The historical clock tower of the Sir Samuel Steele Memorial Building is a beacon for our location.

•••••

Halifax Regional Municipality
Request for Proposals : Public Art
Halifax Common Aquatics Facility
Submission Deadline : September 19, 2022
Project Budget : $170,000 CDN (exclusive of net HST)

The Halifax Regional Municipality is seeking public art proposals to be integrated in the new Halifax Common Aquatics Facility, located at 5838 Cogswell Street.

The Halifax Common Aquatics Facility project will include a 13,500 square foot pool with capacity for 450 people, a new playground, and a year-round pavilion with a community room, kitchenette, modular stage for performers, and natural shade areas from tree groves and overhand features of the structure. It is anticipated the new facility will be open to the public in summer 2023.

 

The new Aquatics Facility will offer an opportunity for qualified artists to design, fabricate, and install public art. Successful artists will work in collaboration with the municipality’s project team. The deadline for submission is September 19, 2022.

The total budget for the project is $170,000.00 CDN exclusive of net HST. The tentative project schedule is as follows :

Submission Deadline : September 19, 2022
Selection and Notification : November, 2022
Agreement, Detailed Design and Fabrication : December 2022 – February 2024
Project Installation : June 2024

Learn more about the call for proposals by visiting our website.

Questions can be directed to :
Lindsay Cory
Community Developer – Public Art
Culture & Events | Parks & Recreation
C. 902.456.8384
E : Lindsay [point] Cory [arobas] halifax [point] ca

•••••

Open call : stadt.raum.experimente

Proposal deadline : October 15, 2022, 11:59pm

Kunstkommission Düsseldorf
Geschäftsstelle der Kunstkommission
Zollhof 13
40221 Düsseldorf
Germany


kunstkommission [arobas] duesseldorf [point] de



About stadt.raum.experimente
This year, the Kunstkommission (Art Commission) of the City of Düsseldorf is launching a new format that focuses on promoting contemporary art in the public space. With stadt.raum.experimente, local as well as internationally active artists are called upon to develop experimental and temporary concepts for the urban space of Düsseldorf. Whether installation, performance or participation : stadt.raum.experimente is open to unusual forms and experimental ideas.

Artistic projects in public space are funded that reflect the state and processes of change in the city and actively help shape future developments, for example with regard to sustainable aspects. Socially relevant topics can be taken up in the projects.

Up to 120,000 EUR are available annually. Each project is funded with a maximum of 60,000 EUR. Additional funds from third parties are possible.

Applications are possible at any time !

Closing date for entries for the year 2023 is October 15, 2022.

Information
The framework conditions and the documents to be submitted can be found here.

Jury session
The jury meeting will take place about 6 weeks after the end of the submission deadline. The jury decision will be communicated to the applicants in writing and does not have to be justified by the jury.

Application
You can apply here.

About the Kunstkommission Düsseldorf
Art in architecture resp. public art is formative, creates distinctive places, promotes identification in neighbourhoods and is an essential component of modern urban culture and urban development.

For this reason, the Kunstkommission Düsseldorf in Northrhine-Westphalia, Germany was founded 2018. Since then, a panel of experts consisting of artists, art scholars, architects, urban planners and politicians has been advising the local political bodies on possible projects, artistic formats, locations of building projects, the type of selection process, the artists to be invited and finally the artistic ideas to be realised. The aim is to enable a manifold of artistic expressions in public space, often in connection with new building projects. In addition, the Kunstkommission initiates its own projects and formats in order to sharpen the view of art in public space and to strengthen the city’s profile. The members of the Kunstkommission, which is supported in its work by an own agency, are elected every three years.

 

 

 

 

 

6. pour commissaires

Résidences d’autrices et auteurs | RÉGULIER

Ce programme de résidence s’adresse aux autrices et auteurs du Québec, du Canada et de l’international dont le travail de recherche et d’écriture porte sur des notions, pratiques ou enjeux relatifs aux arts visuels et médiatiques contemporains et actuels. En symbiose avec la présence des artistes, les résidences d’une durée de huit semaines accueillent une autrice ou un auteur par saison. Elle inclut le cachet, l’hébergement, le soutien logistique et l’accès aux ressources documentaires du centre.

13 novembre 2022

Lien

•••••

If you make electronic literature, new media art, sound, computational text, or any kind of work that « glitches and gleans » consider applying to The New River : A Journal of Digital Art & Literature’s Call for Submissions, deadline is Oct 30, 2:10 P.M.

•••••

MANIF D’ART 11 – LA BIENNALE DE QUÉBEC :
APPEL DE CANDIDATURES – VOLET JEUNES COMMISSAIRES
 

Québec, le 15 septembre 2022. Depuis sa neuvième édition, Manif d’art intègre un volet jeunes commissaires à la programmation officielle de La biennale de Québec. Pour Manif d’art 11, c’est dans une formule revue et améliorée que l’organisme fait encore une fois appel aux commissaires émergent.e.s de la province de Québec (les candidats actifs dans la ville de Québec et ses environs seront privilégiés).

Les forces du sommeil
Cohabitations des vivants
La biennale de février 2024 s’inspirera de l’hiver canadien et du sommeil de la terre pour s’intéresser à celui des humains et explorer les nuances multiples de l’éveil. La saison froide et le sommeil sont des moments de latence et de transition, de pause. Ils suspendent le principe de l’exploitation et de l’épuisement des ressources. Des alternances saisonnières, des rythmes et des états entre sommeil et éveil, dépendent la régénération, l’écoute, la présence au monde. L’éveil est le moment de l’étonnement, de la recomposition des perceptions, de reconstruction des points de vue, et nous donne accès à la richesse de nos contradictions, à des rapprochements imprévus et des dérives, fructueuses ou pas. En brouillant le partage entre l’inerte et l’animé, les différents stades de l’éveil peuvent mettre nos habitudes en réserve au profit d’expériences sensibles, de visions singulières, de rencontres inattendues. C’est pourquoi les temps du sommeil nous éloignent des usages et des formats culturels. Ils résistent aux idéologies et au culte de la productivité. Malgré les efforts du capitalisme*, ils nous préservent encore des principes de la consommation constante et du rendement permanent…. [Lire la suite].

* Voir à ce sujet Jonathan Crary, 24/7 Le capitalisme à l’assaut du sommeil, La Découverte, 2016. 

Le volet jeunes commissaires
Les commissaires sélectionné.e.s seront invité.e.s à interpréter la proposition thématique de la commissaire de la biennale, en collaboration avec elle. Ils pourront concevoir des expositions avec les artistes de leur choix dans les espaces d’exposition pré déterminés et en fonction de ressources allouées. Les espaces d’expositions pourraient présenter certaines exigences, ces dernières vous seront partagées dès la première rencontre.

Bénéficiant d’un rapport de mentorat privilégié avec la commissaire internationale ainsi que d’un appui continu de Manif d’art, les jeunes commissaires sélectionné.e.s seront accompagné.e.s par Manif d’art dans leurs recherches artistiques ; dans le développement de leur approche de commissariat ; dans leurs processus créatifs de mise en exposition ; et dans la gestion et la coordination de leurs projets d’exposition respectifs. Ainsi, ces jeunes professionnels devront se rendre disponibles pour participer à des activités de formation et rencontres de travail périodiques. Les expositions des jeunes commissaires sélectionné.es seront intégrées au catalogue d’exposition, aux activités professionnelles et éducatives, ainsi qu’aux activités de vernissage de la biennale.

En résumé, les candidat.e.s sélectionné.e.s, pour participer au volet jeunes commissaire auront à prendre en charge les tâches suivantes avec l’appui et l’accompagnement de l’équipe de Manif d’art :
 

Développement d’une vision personnelle de la thématique de Manif d’art 11
Développement d’un projet d’exposition (sélection des artistes et des œuvres, design d’exposition)
Rédaction de textes artistiques et biographiques
Développement d’activités d’animation et de médiation culturelle, le cas échéant (selon les projets)
Coordination d’un projet d’exposition (Invitation et encadrement des artistes, gestion des relations avec les partenaires, contrats, assurances, transport d’œuvres, montage et démontage)
Tenue d’un budget et recherche de financement (un budget de départ permettant de réaliser l’exposition en payant tous les artistes et jeunes commissaires sera alloué à chacun des projets, mais dans le cas où les personnes sélectionnées souhaiteraient augmenter leur budget de projet, elles devront prendre en charge les démarches de financement additionnelles. Manif d’art les accompagnera dans ces démarches.)
Communications (publicité et promotion, signalétique)

Au terme de l’expérience, les jeunes commissaires sélectionné.e.s auront développé et présenté des expositions de qualité dans des lieux professionnels et appris à en comprendre tous les aspects de la gestion. Ils.elles auront professionnalisé leur pratique de commissariat et démontré leurs compétences. Ces jeunes professionnel.le.s auront aussi considérablement développé leur réseau de contact.

Candidatures admissibles
Le volet jeunes commissaires de Manif d’art 11 s’adresse aux commissaires émergent.e.s de la province de Québec (les candidats actifs dans la ville de Québec et ses environs seront privilégiés). Il concerne les commissaires avec 7 ans ou moins d’expérience professionnelle dans le domaine et/ou moins de 5 projets de commissariat à leur actif. Seront priorisé.e.s les candidat.e.s ayant fait des études universitaires en Histoire de l’art, en Arts visuels ou en Muséologie (et autres domaines connexes).

Les dossiers seront évalués par la direction de Manif d’art. Les candidat sélectionné.e.s seront contactés rapidement afin de convenir d’une date de première rencontre de travail. Il est à considérer que les candidat sélectionné.e.s devront être disponibles pour participer à plusieurs rencontres et formations tout au long du projet. Un calendrier sera soumis tôt dans le processus afin de permettre aux jeunes commissaires d’adapter leur horaire.

Dossier de candidature
Le dossier de candidature doit comprendre :
• Curriculum vitae à jour
• Lettre de motivation
• Portfolio avec réalisation de commissariats antérieurs, le cas échéant.
• Exemples de textes artistiques, le cas échéant.

Date limite pour postuler : 2 octobre 2022 à minuit.

Lien

•••••

Call for Proposals

Vol. 28, No. 5 : ‘On Sadness’

(July/Aug 2023)

 

Proposal Deadline : 19 October 2022
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Edited by After Performance (Felipe Cervera, Alvin Eng Hui Lim, Ella Parry-Davies, Matthew Yoxall)

 

After Performance is a research group who, since 2015, has held a commitment to being published as a collective. We gather to conjoin authorial voices and relational thinking, and this text stems from that practice. This call for papers was conceived at our last in-person working meeting in Singapore, in 2018, when as a group we were experiencing different aspects of sadness. Our impetus in opening our conversation to the field and through this call is to explore how performance praxis articulates collective experiences of sadness. Our sadnesses, and our proposal to think with them, are temporal, embodied and historically specific. Sadness has a historicity ; it circulates and sticks (Ahmed 2004) ; collective sadness is worldly (Said 1991). How might we, then, think sadness in the collective ? 

 

The purpose of this issue of Performance Research is to inspire responses to experiences, practices and theorizations of sadness. We are also interested in explorations of sadness as refusal, illegibility or fugitivity. Contributions might offer historical scrutiny of, or challenge how, dominant performance histories have codified sadness as a hegemonic expression or feeling. Do these eclipse counter-narratives or unrecorded experiences of non-feeling, numbness, loss, grief, despair or hopelessness that inflect or are adjacent to it ? We seek to scrutinize how sadness has been made legible through ways of sensing and reading performance that are racialized, imperialist, gendered or ableist. Who appears as sad ? Who does not ? Where is sadness intelligible ? Where is it opaque (Glissant 1997) ? 

 

We invite contributions to explore how sadness appears in theatre, dance and performance practice and theory. How might we revise the history of sadness in these forms, if we are not looking for sadness as an expression but as an ontology ; not as a social withdrawal, but as an affirmation of being, collectively, in the world ? What is, therefore, the relationality that sadness affords and creates ? In what ways is sadness a practice, a repertoire, an action, a temporality, an infrastructure ? How might this be understood through and as performance ? 

 

Canonical theory in performance studies has often been articulated in relation to, for example, an ontology of ‘disappearance’ and an expression of loss or ‘mourning’ (Phelan 1993, 1997 ; Butler 2004), and in turn a critical response to disappearance that emphasized performance as repertoire and remains (Taylor 2003 ; Schneider 2011). For Taylor, ‘[d]ebates about the ephemerality of performance are, of course, profoundly political. Whose memories, traditions, and claims to history disappear if performance practices lack the staying power to transmit vital knowledge ?’ (2003 : 5). In response to debates on presence and permanence, what kind of performance theory can emerge in and out of the relentless present tense of sadness, or the pervasive, flattening disappearance of joy ? How does performance account for the horizontality of witnessing one another’s destruction ? 

 

In using the quotidian term ‘sadness’ we are consciously opening out from the psychoanalytic and contemporary therapeutic languages of melancholia, trauma and depression, and the dramaturgical ones of tragedy and catharsis – not to refute these diagnostics in themselves, but to refute how they might overdetermine sadness through pathologization or treatment. What would a reading of sadness look like, against colonial legacies that resulted in intergenerational pain and grief, and neocolonial paradigms that demand displays of trauma and prescribe particular ways of treating it ? We note that specific forms of performance (such as talking) are required to express or ‘heal’ sadness in the psychoanalytic canon. In what ways do vernacular forms and agencies of responding to sadness – clowning, wailing, procession, breath or sitting, for example – counterpose or challenge locally and/or globally dominant paradigms of sadness ? What are the approaches and methodologies that recuperate Indigenous knowledge on sadness from colonial medical categories and pathologies ? 

 

Contributions could also offer insight into how sadness might be approached in performance training and practice. How do you train to be or appear sad ? How do we define or question the relation of sadness to authenticity ? Taking as a reference Abbas Kiarostami’s Ta’ziyeh (200­­3), in which performers were made to cry on cue to express a repertoire of Shia sadness and mourning, we ask when and how sadness might appear as an authentic sense of collective bonding ? Conversely, when and why might sadness be an artifice ?

 

This issue invites articles, manifestos, position papers, interviews and artist pages that think through the idea and practice of sadness. Topics may include, but are not limited to :

 

History of feelings/emotions/affects

Violence, trauma and aftermath

Mourning, bereavement, grief, and death practices

Depression, economy, and somatic symptoms 

Somatic practices and performance technique 

Religion and spirituality 

Psychoanalysis and melancholy

Drama therapy 

Medical anthropology 

Ecomourning

Mental health and well-being in virtual space

Corporate and human resource management

Monuments and sites of mourning

Infrastructures of sadness

Indigeneity and sadness

Performance ontology 

Nothingness/Emptiness 

Durational and site-specific performance 

Genres of tragedy

Stage(d) crying/sadness

Ethics and social behaviour

Content notifications and safe management of the rehearsal room

Confessional and autobiographical performance 

 

References

Ahmed, Sara (2004) The Cultural Politics of Emotion, Edinburgh : Edinburgh University Press.

Butler, Judith (2004) Precarious Life : The powers of mourning and violence, London and New York, NY : Verso.

Glissant, Édouard (1997) Poetics of Relation, trans. Betsy Wing, Ann Arbor, MI : Michigan University Press.

Kiarostami, Abbas (2003) Ta’ziyeh, performed on 18 July, Teatro Greco, Parma, Italy. 

Phelan, Peggy 1993. Unmarked : The Politics of Performance. London and New York, NY : Routledge.

Phelan, Peggy (1997) Mourning Sex : Performing public memories, London and New York, NY : Routledge.

Said, Edward W. (1991) The World, the Text and the Critic, London : Vintage.

Schneider, Rebecca (2011) Performing Remains : Art and war in times of theatrical reenactment, Florence : Taylor & Francis.

Taylor, Diana (2003) The Archive and the Repertoire : Performing cultural memory in the Americas, Durham, NC and London : Duke University Press.

 

Format :

Please send 300- to 400-word abstracts (with a 100-word author bio) for critical essays, artist pages, interviews or practice-research essays that attend to (but are not limited to) any aspect of the above.

Alongside long-form articles, we encourage short articles and provocations. As with other editions of Performance Research, we welcome artist(s)’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 should be sent direct to Performance Research at : info [arobas] performance-research [point] org

 

Issue-related enquiries should be directed to the issue editors via :

afterperform [arobas] gmail [point] com   

 

Schedule :

Proposals : October 2022

First drafts : February 2023

Final drafts : May 2023

Publication : August 2023

 

General Guidelines for Submissions : 

• Before submitting a proposal, we encourage you to visit our website (www.performance-research.org ) and familiarize yourself with the journal. 

• Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)).

 Proposals should not exceed one A4 side. 

• Please include your surname in the file name of the document you send. 

• Please include the issue title and issue number in the subject line of your email. 

• Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images. 

• Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. 

• If your proposal is accepted, you will be invited to submit an article in the first draft by the deadline indicated above. On the final acceptance of a completed article, you will be asked to sign an author agreement in order for your work to be published in Performance Research.

•••••

Esse 108 – Résilience
 

L’équipe de Esse fait appel aux auteur·ices afin de célébrer ce qui dans l’art actuel nous apprend à persévérer malgré les refus, à se relever après être tombé·e, à passer au travers ses désillusions. Nous souhaitons répondre aux difficultés qui s’imposent à nous en faisant valoir le besoin, collectivement, de dépasser le pessimisme, de transformer notre vulnérabilité en empouvoirement, de choisir non pas l’optimisme naïf, mais un certain réalisme stratégique. La résilience est un défi de taille. 
 

Voir l’appel sur esse.ca

•••••

Notes d’intentions – Dossier no 270 « Généalogies collaboratives » / Vie des arts
10 octobre 2022
/ Montréal (Québec)
 
Vous avez toujours rêvé d’écrire un article dans Vie des arts ? L’occasion de soumettre votre texte est arrivée ! Les rubriques vous permettent de réfléchir autour des sujets que sont les visites d’exposition, de lectures et des perspectives selon votre expérience de l’actualité des arts. Lisez s’en plus sur chacune d’elles : https://viedesarts.com/proposer-un-article/

Vous avez vu une exposition, assisté à un événement artistique, ou voulez nous faire part d’un enjeu qui vous tient à cœur ? Le dossier thématique du no 270 : « Généalogies collaboratives » suscitera certainement des réflexions intéressantes.

« Au Canada, il existe une tradition très forte axée sur l’auto-gestion artistique. Pensons d’abord au réseau pancanadien des centres d’artistes autogérés, mis en place dans les provinces pour soutenir, dans des structures gouvernées par des artistes, l’émergence d’une production via le partage communautaire. Cette mobilisation a contribué à créer des zones d’organisation sociale à travers la pratique et la diffusion de l’art, en offrant des opportunités de rassemblement et de mises en commun des savoirs et des outils professionnels. D’autres structures surgissent également et prennent la forme d’associations, d’événements, d’ateliers, ou même d’habitations et de coopératives – bien que les désirs de mettre en commun peuvent aussi faire émerger des rencontres hors des institutions. Celles-ci prennent alors la forme de collectifs pérennes, temporaires, sporadiques, ou même de relations d’entraide intergénérationnelles et de mentorat. Comment faire valoir l’héritage culturel ou artistique dans son caractère holistique et déceler ses ramifications dans le présent ? » [en savoir plus]

Toutes les soumissions doivent inclure la note d’intention selon la rubrique envisagée, ainsi qu’une description de l’angle critique qui sera utilisé pour la rédaction, trois extraits de textes antérieurs (publiés ou non) ainsi qu’une courte biographie de l’autrice ou de l’auteur (25 mots), et être envoyées à redaction [arobas] viedesarts [point] com avant le 28 septembre 2022 pour les rubriques récurrentes non thématiques et le 10 octobre 2022 pour le dossier thématique. Nous ferons un suivi avec les propositions pressenties et les textes finaux, suivant la commande préalablement prise avec la rédaction, devront être rendus au courant du mois de novembre 2022.

 

Vie des arts
5605, avenue de Gaspé, bureau 603
Montréal (Québec) Canada H2T 2A4
+1 514 282-0205
communications [arobas] viedesarts [point] com
http://viedesarts.com

•••••

Employment Opportunity : Artistic Director for SAVAC
SAVAC (South Asian Visual Arts Centre) is a non-profit, artist-run centre in Canada dedicated to increasing the visibility of culturally diverse artists by curating and exhibiting their work, providing mentorship, facilitating professional development and creating a community for our artists. SAVAC was founded to be an organization staffed by people of colour, committed to support the work of artists of colour. For more info : savac.net

Position Description :

Working collaboratively with the Executive Director and reporting to the Board of Directors, the Artistic Director is responsible for developing and implementing year-round exhibition programming, residencies, art events, educational workshops and special projects with a cohesive artistic vision. The ideal candidate for this position is a motivated arts professional and cultural worker who is passionate about contemporary art, maintains an understanding of contemporary Global South and/or diasporic arts practices, and has expansive networks within arts and cultural communities in Toronto and beyond.

Duties and responsibilities :

Programming

Develop a cohesive artistic vision with high quality and relevant programming that responds to current artistic and political trends ;
Implement all aspects of programs, including but not limited to :
◦  Research artists working in a variety of mediums ;
◦  Conduct regular artist studio visits with potential exhibiting artists ;
◦  Facilitate annual and themed calls for submissions ;
◦  Produce a schedule of exhibitions from local, national and international artists ;
◦  Coordinate installation of artworks with artists and curators ;
◦  Produce thoughtful and responsive exhibition design ;
◦  Coordinate public events and receptions ; talks, tours and screenings ;
◦  Produce or coordinate written materials for web and print related to art programs ;
◦  Ensure the continuity of ongoing bi-annual or annual SAVAC programs including Monitor film and video program, Missed Connections residency and pedagogical platform, and Ishtar’s International Network of Feral Gardens, as well as other regular co-presentation and collaborations.
◦  Program events and activities in SAVAC’s space at 401 Richmond ;
◦  Program exhibitions, screenings and other events in collaboration with other art spaces in Toronto and other national and international locations ; and
◦  Work with Communications Coordinator to develop a targeted outreach strategy ;
Maintain communication and relationships with artists and programming partners ;
Coordinate the Ontario Arts Council’s Exhibition Assistance Grant ;
Act as a representative of the organization within the sector ; and
Attend exhibitions, screenings, events and keep abreast of trends within the local and international art world.
Financial and Office Administration

Responsible for writing programming sections of grants ;
Produce and maintain programming budget for all programming events ;
Provide support in different aspects of the organization—in administration, artistic, marketing, outreach and community relations ;
Develop, implement and supervise programs and services that are consistent with the organization’s mission and Strategic Plan and that meet the needs of SAVAC communities ;
Working with the Communications Coordinator, contribute to SAVAC’s Quarterly Newsletter by providing audiences with up to date information about current and upcoming events
Write contracts for artists, guest curators, and writers ; and
Develop and maintain pre-existing and new co-presentation partnerships.
Qualifications, Skills, and Experience :

Minimum 5 years overall experience in artistic programming or educational background in related disciplines e.g., Art History, Curatorial Studies, Visual Culture etc., or equivalent paid or volunteer experience in the sector
Knowledge of, and or experience with :
◦  The Canadian public granting system
◦  Board governed artist-run centres in Canada
◦  Contemporary art from the global south
◦  Writing and maintaining programming/project budgets
◦  Installing a variety of exhibitions
◦  Working in different artistic mediums
◦  The barriers faced by artists of colour
Strong written English in a variety of writing styles including curatorial essays, grant-writing language, promotional writing and email correspondence
Knowledge of a second language is preferred
Able to troubleshoot and creatively problem solve in areas of budgeting, exhibition design and installation
Ability to work in to work independently and cooperatively without supervision in a small, engaged hybrid workplace
Proven leadership ability when working with junior and contract staff, guest contributors and artists
Strong project management skills to undertake and realise collaborative exhibition projects including a high capacity to multitask and meet deadlines
Excellent interpersonal and communication skills including experience in public speaking and moderating panels
Notes on Working Conditions :

Must be comfortable with flexible work environment and variable work schedule
Some lifting and moving may be involved
SAVAC’s office is located at 401 Richmond St W. in Toronto, Ontario. SAVAC is currently working in a hybrid model (some in-office and some remote work)
Position Details :

The Artistic Director reports to the Board of Directors and works closely with the Executive Director. Total compensation includes health benefits through a group insurance plan and three weeks paid vacation with additional unpaid leave possible as approved by the Director/Board of Directors on a case-by-case basis.

Number of hours/week : 28 hours/week
Duration : 2 year renewable contract
Preferred Start Date : October 17th (negotiable)
Starting Salary : $42k, to commensurate with experience & annual cost of living increases

Why work for SAVAC ?

Collaborative, nimble and responsive programming style
Anti-racist, equity-focused, QTBIPOC-centered work environment
Opportunities for expanding your cultural network within Toronto, Ontario, Canada, and other areas internationally
Support for independent artistic and curatorial careers and opportunities
Support for professional development through attendance of courses, workshops and/or conferences
Please submit applications to board [arobas] savac [point] net with the subject line : Artistic Director Application.

In your application, please include your CV, a one-page cover letter and a one-page statement answering the following question : Given SAVAC’s 25 years of programming, what 2 – 3 themes or narratives would you pursue as Artistic Director over the first 2 years of your contract ? Why do you think those themes and/or narratives are important in this broader moment in Canadian contemporary art ?

Deadline Date : September 30, 2022, 5pm EDT

Only short-listed candidates will be contacted.

 

Suite 450
401 Richmond St. W.
Toronto, ON M5V 3A8
Canada

Monday – Thursday
10am – 5pm
By remote appointment only

savac.net
board [arobas] savac [point] net
416 542 1661

 

 

 

 

7. emplois

Direction générale / L’Œil de Poisson
26 septembre 2022
/ Québec (Québec)
 
L’Œil de Poisson (L’ODP) est un centre d’artistes autogéré qui axe sa mission sur la recherche, la création, la production et la diffusion en arts actuels. Il soutient aussi bien les artistes et commissaires établis qu’émergents et favorise leur rayonnement tant au Québec qu’à l’international.

L’ODP entend demeurer une référence incontournable pour soutenir ses membres. Il fournit divers services dont des espaces d’exposition, des techniciens spécialisés et des ateliers pour faciliter la production de leurs œuvres.

L’ODP se veut un centre rassembleur, proche de ses membres, accessible et accueillant, effervescent et inclusif, voire festif, en vue de susciter le partage et l’émergence d’idées et de projets. L’ODP veut faciliter l’instauration de liens entre les artistes et divers publics par la diffusion de leurs œuvres et de leurs travaux de recherche.

Ces années de Covid ont été pour le centre, l’opportunité d’entamer un travail de restructuration et une planification stratégique en vue de son 40e anniversaire.

Poste de direction générale

L’OPD est à la recherche d’une personne motivée et capable de réaliser ce nouveau chapitre de son histoire en mobilisant les individus et les organismes souhaitant y participer.

À ce titre, elle est responsable, sous l’autorité du conseil d’administration, du fonctionnement de l’organisme et de la gestion courante de ses activités et de ses ressources. Elle veille à l’exécution des décisions du conseil d’administration et s’assure que soit transmise à ce dernier toute l’information qu’il requiert ou qui lui est nécessaire pour assumer ses responsabilités, incluant la reddition de compte périodique de sa gestion.

Ses rôles

1. Une leader
La personne développe et entretient de bonnes relations interpersonnelles puisqu’elle motive, guide et mobilise ses collaboratrices et collaborateurs et donne l’exemple.

2. Un symbole
Elle représente l’ODP dans toutes sortes de circonstances et s’assure de projeter une image positive de l’organisme dans ses interventions auprès des personnes, groupes et instances.

3. Une agente de liaison
Elle crée et entretient des réseaux d’informateurs, participe à des conseils d’administration d’autres organismes, assure la continuité et le développement des contacts nécessaires au meilleur fonctionnement de l’organisme.

4. Une observatrice active
Elle recherche et reçoit toute information pertinente à la conduite de l’organisme, à la meilleure connaissance de son environnement et de l’impact de ses activités.  Ainsi, elle est à l’affût, dans et hors de l’organisme, des occasions d’expansion, d’amélioration et de lancement de projets nouveaux.

5. Une diffuseuse
Elle diffuse, à l’intérieur de l’organisme, les éléments pertinents de l’information reçue, s’assure que la bonne information va au bon destinataire et suscite les actions requises.

6. Une régulatrice
Elle fait face à toute situation nouvelle, s’assure, chaque fois où c’est nécessaire, que des correctifs soient apportés et vérifie que les réactions aux situations de crise ou de perturbations soient appropriées. Elle veille, en plus, à ce que chacun dispose, au moment voulu, des moyens requis pour réaliser sa part d’activité dans l’organisme. Elle accorde les autorisations requises et approuve les programmes de travail du personnel et des bénévoles.

7. Une négociatrice
Elle prend part à toutes sortes de discussions devant engager son organisme, le représenter, notamment auprès des partenaires et des interlocuteurs externes.

Les exigences

Expérience de gestion jugée excellente, plus particulièrement en gestion des R.H. et financière.
Une formation en gestion de niveau universitaire.
L’absence de formation universitaire en gestion pourrait être compensée par une expérience exceptionnelle dans des fonctions reliées au poste, notamment dans le domaine culturel.
Un intérêt marqué pour le domaine des arts.
Avoir démontré une expérience concrète et positive en mobilisation et dynamique d’équipe.
Rémunération et temps de travail

Il s’agit d’un poste à 28 heures par semaine. Si nécessaire, des arrangements peuvent toutefois être convenus à ce sujet. Entre 24 et 32$ / heure, la rémunération est à négocier en fonction de l’expérience et des qualifications de la personne.

Lieu de travail

Le lieu de travail est situé dans la ville de Québec.

Faites parvenir votre curriculum vitae ainsi qu’une lettre de motivation par courriel à julien [point] lebargy [arobas] gmail [point] com au plus tard le 19 septembre 2022. Les personnes retenues seront contactées et convoquées en entrevue dans la semaine du 26 septembre 2022.

L’entrée en poste est prévue le 17 octobre 2022.

L’Œil de Poisson
541, rue de Saint-Vallier Est,
Québec (Québec) G1K 3P9
+1 418.648.2975
info [arobas] oeildepoisson [point] com
http://www.oeildepoisson.com/

•••••

Responsable du programme éducatif public / OPTICA, centre d’art contemporain
20 septembre 2022
/ Montréal (Québec)
 
Conditions d’emploi :

Poste permanent (Contrat de travail à durée indéterminée)
28 heures par semaine, du mardi au vendredi
Salaire annuel : 32 000$
Date limite pour postuler : 20 septembre 2022
Entrée en fonction : 4 octobre 2022
Le centre d’art contemporain OPTICA est à la recherche d’une personne dynamique afin de pourvoir le poste de responsable de son programme éducatif public. Sous la supervision de la directrice générale, la personne titulaire du poste a pour mandat de coordonner et de développer les contenus et les activités du programme éducatif public d’OPTICA. Elle doit posséder 2-3 années d’expérience en médiation culturelle ou avoir acquis une expérience complémentaire dans le cadre de ses études et détenir une bonne connaissance du milieu de l’art contemporain.

Les tâches sont rattachées au développement des contenus et des ressources pédagogiques en art contemporain, à l’accueil des publics, à la préparation et à l’animation de visites, de discussions et d’ateliers de création, à des activités de recherche en médiation culturelle ainsi qu’à la réalisation de projets spéciaux.

Situé à Tiohtià:ke/Mooniyang/Montréal, OPTICA s’inscrit parmi les premiers centres d’artistes autogérés canadiens. Depuis 1972, le centre œuvre à promouvoir l’art contemporain canadien et cherche à sensibiliser les différents publics aux enjeux qui animent les discours et les pratiques artistiques en arts visuels par le biais d’un programme varié d’expositions, d’activités critiques et éducatives.

Entrée en fonction : 4 octobre 2022

Nous accordons une grande valeur à la diversité culturelle et encourageons les candidat.e.s à mentionner si elles et ils (iels) sont issu.e.s de l’immigration, membres de minorités visibles ou autochtones.

Les candidat·e·s intéressé·e·s sont prié·e·s de bien vouloir soumettre leur curriculum vitae, accompagné d’une lettre d’intérêt au plus tard le 20 septembre 2022 à 23h59 à l’attention de Marie-Josée Lafortune, directrice générale : mjlafortune [arobas] optica [point] ca

Veuillez SVP inscrire le nom du poste dans le titre de votre courriel.

Nous remercions à l’avance toutes les personnes qui poseront leur candidature. Nous communiquerons toutefois seulement avec celles et ceux qui seront retenu.e.s en entrevue.

En savoir plus

 

Optica
5445 avenue De Gaspé, local 106
Montréal (Québec) H2T 3B2
+1 514.874.1666
info [arobas] optica [point] ca
http://www.optica.ca

•••••

DIRECTOR/CURATOR, MORRIS AND HELEN BELKIN ART GALLERY

The University of British Columbia

Vancouver, BC Canada

The Faculty of Arts at The University of British Columbia (UBC)  » Vancouver invites
applications for the position of Director/Curator, Morris and Helen Belkin Art Gallery.
The Belkin Gallery is an academic gallery located on the traditional, ancestral,
unceded territory of the Musqueam people, on the UBC Vancouver campus. The
Belkin is dedicated to equity, social justice, criticism and curating. The mission of the
gallery is to explore the ways in which the practice of contemporary art is in itself a
form of research that
produces knowledge. Through exhibitions, publications,
collecting, events and programs, the Gallery raises awareness and encourages
debate in the field of contemporary art. Across all media and disciplines it
emphasizes practices and projects that challenge the status quo, support emerging
artists, and present artist-initiated projects. It is looking for a Director/Curator who
will bring further innovation, collaboration, and engaged leadership to UBC. This is a
unique opportunity for a Director/Curator embedded in the world of contemporary art
to bring diverse experience, background, and perspectives to UBC and the
communities in Vancouver, Canada and internationally.

Concurrent with the directorship, the successful candidate will hold an academic
appointment to a tenure-stream professorial position (as either Assistant Professor
or Associate Professor, with the rank of appointment commensurate with
qualifications and experience) in the Department of Art History, Visual Art & Theory
(AHVA) and will be an active member of the Critical and Curatorial Studies (CCST)
program. They must be appointable to a tenure-stream professorial position,
demonstrate the potential and/or experience with teaching (via experience in the
classroom or with gallery mentorship or training), and ability to work with and
supervise students. The appointment will commence as early as January 1, 2023 , or
a mutually agreeable start date. The successful candidate will be appointed in the
Directors role for a five-year term with the possibility of renewal for another term,
after which time they will become a part of the AHVA faculty complement.

HOW TO APPLY

Apply online by September 30, 2022 at : https://ardo.air.arts.ubc.ca/?p=7617.
Enquiries may be directed to Associate Dean Laura Moss, via email
(arts [point] headships [arobas] ubc [point] ca) with BELKIN director
search 2022 in the subject line. Review of applications will begin in October 2022
and will continue until the position is filled. The position is
subject to final budgetary
approval. Salary will be commensurate with qualifications and experience.

Home Page

•••••

Tenure-track opportunity in Expanded Drawing Practices, York University

Department of Visual Art and Art History
School of the Arts, Media, Performance & Design
YORK UNIVERSITY
The Department of Visual Arts and Art History in the School of the Arts, Media, Performance and Design, York University invites highly qualified candidates to apply for a professorial stream tenure-track appointment in Expanded Drawing Practices at the Assistant/Associate Professor level, to commence July 1, 2023. Salary will be commensurate with qualifications and experience. All York University positions are subject to budgetary approval.

York University’s Department of Visual Arts and Art History is one of the leaders in art history and art practice in Canada. Recent renovations of undergraduate studio spaces, expansion of the MFA studios, and creation of a visual art study centre have contributed to the growth of the department. We are committed to teaching critical issues in art and art history, and to the ongoing development of programs in all areas of studio and studies.

An MFA with a substantial record of professional experience in drawing and an emphasis on drawing practices is required, with a demonstrated record of excellence or promise of excellence in research and in teaching. We acknowledge that that within higher education in Canada, traditional or conventional academic pathways in research and practice can reinforce biases in the filling of faculty posts. Candidates with a diverse range of education, teaching and research experience are encouraged to apply.

Applicants should clearly articulate their experience in one or more of the following areas of contemporary drawing practices : digital techniques and processes ; animation ; drawing installation, among others if applicable. The successful candidate will be expected to engage in outstanding, innovative, and as appropriate, externally funded research or research creation (e.g., commissions, exhibitions, etc.) at the highest level.

Candidates must also demonstrate the ability to enhance York’s Drawing program by developing curriculum that has a digital presence and through socially engaged research and inclusive teaching practices. The position includes graduate teaching, TA supervision, undergraduate instruction for majors and non-majors, studio and lecture courses. It is expected that the successful candidate will contribute to the development and implementation of innovative pedagogies in drawing courses that engage both in-class and online instruction. The successful candidate will join collaborative and committed peers who share administrative duties and responsibilities such as departmental governance and committee work. A minimum of two years post-secondary teaching is required. Suitability for prompt appointment to the Faculty of Graduate Studies, given that the position will involve graduate teaching and supervision.

York is a leading international teaching and research university, and a driving force for positive change. Empowered by a welcoming and diverse community with a uniquely global perspective, we are preparing our students for their long-term careers and personal success. Together, we can make things right for our communities, our planet and our future.

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 Rose Le Coche, Committee/Administrative Secretary of the Department of Visual Art and Art History at York University at vaah-search [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 this voluntary 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.

To Apply :

Candidates are asked to provide evidence of research excellence (or promise thereof for junior appointments) of a recognized international calibre in the following materials :

up-to-date CV highlighting record of professional exhibitions, research presentations, awards and accolades
portfolio of relevant work
letter of application articulating your experience, research agenda and approach to teaching excellence, including accomplishments and pedagogical innovations. We are particularly interested in experience integrating equity initiatives in research and teaching, experiential education and technology-enhanced learning.
Names and contact information of three professional references
Work Status Declaration form
Teaching evaluations and letters of reference will only be solicited from short-listed candidates. Submit materials to : Rose Le Coche, Committee/Administrative Secretary of the Department of Visual Art and Art History at York University at vaah-search [arobas] yorku [point] ca and include “Expanded Drawing Practices” in the subject line.

The deadline for receipt of completed applications is November 11, 2022.

•••••

Seeking Director

Fundació Antoni Tàpies


Application deadline : October 30, 2022

Fundació Antoni Tàpies
Carrer Aragó, 255
08007 Barcelona
Spain
Hours : Tuesday–Saturday 10am–7pm,
Sunday 10am–3pm


T +34 934 87 03 15
borsadetreball [arobas] ftapies [point] com

fundaciotapies.org
Twitter / Facebook / Instagram / YouTube

The Fundació Antoni Tàpies is holding an international open call to select a new Director to ensure the continuation of the fundamental objectives and guidelines already deployed in the past, while overseeing the Fundació’s adaptation to the new demands of the moment, and to help give fresh impetus for the future.

Created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art, the Fundació Antoni Tàpies opened its doors in 1990 and has the legal structure of a private foundation. The new Director will ensure the preservation, study and dissemination of the work and ideas of Antoni Tàpies, and the promotion, dissemination and defence of the manifestations of the human spirit, especially in the field of contemporary art in all its various forms. The governing, administration and representation of the Fundació is conducted by the Board, within the powers determined by its Statutes.

All applications received will be carefully studied and evaluated by a committee of experts. After due consideration, this committee will submit its recommended nomination to the Board of Trustees for appointment.

The requirements of the future Director, who exercises the role of executive and artistic director of the Fundació, include professional experience in the field of museums and contemporary art centres, together with leadership, communication and negotiation skills. They will represent the Fundació and develop networks with other bodies in order to articulate its projects, while directing the financial management of the centre, including new initiatives to increase revenue, sponsorship and patronage. They will possess knowledge of the work of Antoni Tàpies and of the trajectory of the Fundació to date, and be conversant with the wider cultural and artistic environment. Evaluation will take account of the assessment and diagnosis of the current state of affairs and the candidate’s ability to articulate a diverse, innovative and attractive future programme for the Fundació.

Candidates should submit their Curriculum Vitae (with clear supporting documentation) and a detailed statement (maximum of ten pages) containing, firstly, an assessment and diagnosis of the past and present trajectory of the Fundació, and, secondly, an outline of the candidate’s proposals for the coming years. The deadline for submission of applications is October 30, 2022.

More information here.

•••••

Responsable du programme éducatif public / OPTICA, centre d’art contemporain
20 septembre 2022
/ Montréal (Québec)
 
Conditions d’emploi :

Poste permanent (Contrat de travail à durée indéterminée)
28 heures par semaine, du mardi au vendredi
Salaire annuel : 32 000$
Date limite pour postuler : 20 septembre 2022
Entrée en fonction : 4 octobre 2022
Le centre d’art contemporain OPTICA est à la recherche d’une personne dynamique afin de pourvoir le poste de responsable de son programme éducatif public. Sous la supervision de la directrice générale, la personne titulaire du poste a pour mandat de coordonner et de développer les contenus et les activités du programme éducatif public d’OPTICA. Elle doit posséder 2-3 années d’expérience en médiation culturelle ou avoir acquis une expérience complémentaire dans le cadre de ses études et détenir une bonne connaissance du milieu de l’art contemporain.

Les tâches sont rattachées au développement des contenus et des ressources pédagogiques en art contemporain, à l’accueil des publics, à la préparation et à l’animation de visites, de discussions et d’ateliers de création, à des activités de recherche en médiation culturelle ainsi qu’à la réalisation de projets spéciaux.

Situé à Tiohtià:ke/Mooniyang/Montréal, OPTICA s’inscrit parmi les premiers centres d’artistes autogérés canadiens. Depuis 1972, le centre œuvre à promouvoir l’art contemporain canadien et cherche à sensibiliser les différents publics aux enjeux qui animent les discours et les pratiques artistiques en arts visuels par le biais d’un programme varié d’expositions, d’activités critiques et éducatives.

Entrée en fonction : 4 octobre 2022

Nous accordons une grande valeur à la diversité culturelle et encourageons les candidat.e.s à mentionner si elles et ils (iels) sont issu.e.s de l’immigration, membres de minorités visibles ou autochtones.

Les candidat·e·s intéressé·e·s sont prié·e·s de bien vouloir soumettre leur curriculum vitae, accompagné d’une lettre d’intérêt au plus tard le 20 septembre 2022 à 23h59 à l’attention de Marie-Josée Lafortune, directrice générale : mjlafortune [arobas] optica [point] ca

Veuillez SVP inscrire le nom du poste dans le titre de votre courriel.

Nous remercions à l’avance toutes les personnes qui poseront leur candidature. Nous communiquerons toutefois seulement avec celles et ceux qui seront retenu.e.s en entrevue.

En savoir plus

 

Optica
5445 avenue De Gaspé, local 106
Montréal (Québec) H2T 3B2
+1 514.874.1666
info [arobas] optica [point] ca
http://www.optica.ca

•••••

Department of Visual Art and Art History
School of the Arts, Media, Performance & Design
YORK UNIVERSITY
The Department of Visual Arts and Art History in the School of the Arts, Media,
Performance and Design, York University invites highly qualified candidates to apply for
a professorial stream tenure-track appointment in Expanded
Drawing Practices at the
Assistant/Associate Professor level, to commence July 1, 2023. Salary will be
commensurate with qualifications and experience. All York University positions are
subject to budgetary approval.

York Universitys Department of Visual Arts and Art History is one of the leaders in art
history and art practice in Canada. Recent renovations of undergraduate studio spaces,
expansion of the MFA studios, and creation of a visual art study centre have contributed
to the growth of the department. We are committed to teaching critical issues in art and
art history, and to the ongoing development of programs in all areas of studio and
studies.

READ MORE :

http://webapps.yorku.ca/academichiringviewer/viewposition.jsp?positionnumber=2271
http://ampd.yorku.ca/

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