La Liste: 30 septembre 2022

4. résidences

5. art public

6. pour commissaires

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.

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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

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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.

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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

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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

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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