Programmation des membres de l’AGAVF

Centre d’artistes Voix Visuelle (Ottawa)

Renée Chevalier – Journal alternatif ll, ou Les cahiers d’Ishtar
du 18 janvier au 25 février 2020
67, avenue Beechwood
Vanier, Ontario
www.voixvisuelle.ca

Galerie Sans Nom (Moncton)

Nicole Haché + Tara Francis + Indigo Poirier – Elisgenooasig – Entre: croiser, lacer, lier – Inter: fuse, lace, relate
Exposition de la Résidence de Création Interculturelle de 2019
Commissaire: Collectif 3E
140, rue Botsford
Moncton, Nouveau-Brunswick
www.galeriesansnom.org

Maison des artistes visuels francophones (Saint-Boniface)

Gilles Hébert et Sheila Spence – Retour au paradis / Return To Paradise
du 9 janvier au 14 mars 2020
219, boulevard Provencher
Saint-Boniface, Manitoba
www.maisondesartistes.mb.ca

Le Labo (Toronto)

Sara Létourneau – micro-résidence les 20 et 21 février et résidence du 16 au 31 mars
401 rue Richmond Ouest, Studio 277
Toronto ON
www.lelabo.ca

Centre culturel franco-manitobain (Winnipeg)

Candace Lipischak – Trouvailles
du 4 février au 6 mars 2020
340, boulevard Provencher
Saint-Boniface, Manitoba
www.ccfm.mb.ca

Galerie du Nouvel-Ontario (Sudbury)

Afield, Andrei Aranyi, Jonathan Kabumbe, Jennie Philipow – Partage/Partake
Vernissage et discussion le jeudi 13 février 2020 à 17h
Exposition du 8 février au 14 mars 2020
54, rue Elgin
Sudbury, Ontario
www.gn-o.org

Galerie Bernard-Jean (Caraquet)

Michèle Bouchard – La déchirure… Et après…
du 17 janvier au 15 mars 2020
220, boul. Saint-Pierre Ouest
Caraquet, Nouveau-Brunswick
www.constellationbleue.com

Le Trécarré (Pointe-de-l’Église)

Alain Ph. Gérard – photographies
à la galerie Père-Léger-Comeau
en novembre et décembre
Université Sainte-Anne, Nouvelle-Écosse
rendezvousdelabaie.ca/galerie-dart

La Liste

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

 

Appels de dossiers

1. appels en français du Canada

Centre d’arts visuels de l’Alberta – Edmonton – 15 février
Prix Sobey pour les arts – Canada – 6 mars
Folie/Culture – 3 appels – Québec – 15 mars
Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick – Shediac et Saint-Quentin – 14 février
Espace F – Matane – 7 février
Décroissance – Regart, centre d’artistes en art actuel – 16 février

2. appels en anglais du Canada

Living Arts Centre Galery – Mississauga – 13 mars
Images Festival – Toronto – en cours
Architecture + Design Film Festival – Winnipeg – 21 mars
MHC Gallery – Winnipeg – 25 février
AKA Artist-run Centre – Saskatoon – en cours
Southern Alberta Art Gallery – Lethbridge – en cours

3. appels internationaux

Les Instants Vidéo – Marseille – 5 juin
Flux Factory – New York – 17 février
Dlectricity – Detroit – 3 mars
PerfoArtNet 2020 – Bogotá – 22 février
Metropolitan Arts Centre – Belfast – 26 mars

4. résidences

Indigenous Artist-in-Residence in Studio Art – Guelph – 1er mars
Women’s Studio Workshop – Rosendale, NY, ÉUA – 1er avril
Artscape Gibraltar Point – 24 février
Luminous Bodies – Artscape Gibraltar Point – 24 février
Cité internationale universitaire de Paris – sans date limite

5. art public

Temporary Floating Public Art – Toronto – 16 mars
Brantford Public Library – 1er mars
Valley Line West Elevated Guideway Ramps RFQ – Edmonton – 9 mars
Valley Line West Miserocordia Station RFQ – Edmonton – 9 mars
Valley Line West West Edmonton Mall Station Public Art Project RFQ – Edmonton – 9 mars
Œuvre éphémère – Boucherville – 1er mars
King William Street Beacon – Hamilton – 27 février

6. pour commissaires

Performance research – Training Utopias – 15 mars
Cosmic Bulletin – Call for papers – 14 avril (Riga Biennale)
Revue Ciel Variable – Coordonnateur de l’édition – Montréal – 10 février
Program and Exhibitions Specialist – Worker Arts and Heritage Centre – Hamilton – 26 février
Director position – Kunstmuseum Liechtenstein – 9 mars
Performance research . org – appel à texte – 14 février
Media Architecture Biennale 2020 – Futures Implied – Utrecht – 5 avril
Association des groupes en arts visuels francophones – incubateur en commissariat – 2 mars
revue esse art+opinion – Montréal – 1er avril
Comparative Media Arts Journal – à la fin de chaque mois
off centre – soumissions pour revue web – en tout temps

1. appels en français du Canada

APPEL À PROJETS

ESPACE EXPLORATION

PROGRAMMATION 2020-2021

Date limite : 15 février 2020

Centre d’arts visuels de l’Alberta

www.galeriecava.com

Le CAVA

Le Centre d’arts visuels de l’Alberta (CAVA), fondée en 1997 par la Société francophone des arts visuels de l’Alberta (SAVA) est une association à but non lucratif qui a pour mission de sensibiliser la communauté à l’importance des arts visuels et de stimuler les artistes francophones dans leur cheminement.

L’appel à projets

Le Centre d’arts visuels de l’Alberta (CAVA) lance un appel à projets pour la programmation de septembre 2020 à août 2021 de son Espace Exploration. Cet appel s’adresse aux artistes, groupes d’artistes, collectifs et commissaires francophones œuvrant dans le domaine des arts visuels. Lors de la sélection des projets artistiques, le jury portera une attention particulière à des projets reflétant les transformations et les innovations des domaines des arts visuels. Les dossiers des artistes albertains seront traités en priorité. Dans son Espace Exploration, le CAVA présente chaque année 5 expositions d’art actuel. En parallèle des expositions, le CAVA organise des conférences, des conversations avec les artistes ou des ateliers créatifs permettant d’appréhender l’exposition sous un autre angle et de prolonger la réflexion.

Le dossier de candidature doit inclure :

• Une démarche
• Un Curriculum Vitae de maximum trois
• Une documentation visuelle : 10 images ou vidéos présentant une sélection de projets Les vidéos ne dépassant pas 5 minutes.
• Un descriptif du projet incluant son caractère expérimental et
• Une fiche technique prévisionnelle du projet proposé pour l’Espace
• Vos documents doivent être compatibles avec Mac, Windows et Linux en format .docx ou .
• Vos préférences au niveau des périodes des expositions 2020-2021ci-dessous

PÉRIODE	INSTALLATION	EXPOSITION
Période 1	7 SEPT au 10 SEPT	11 SEPT au 23 OCT
Période 2	11 JAN au 14 JAN	15 JAN au 19 FEV
Période 3	22 FEV au 25 FEV	26 FEV au 09 AVR
Période 4	12 AVR au 15 AVR	16 AVR au 21 MAI

Le soutien

Les projets sélectionnés recevront un soutien suivant :

• Cachet d’exposition, selon la grille tarifaire CARFAC
• Frais de communication (relations presse, graphisme, publicité, impression).
• Frais techniques liées aux évènements : réception, conférence…
• L’installation de l’exposition.

La sélection

Toutes les candidatures feront l’objet d’une étude minutieuse par le comité de programmation qui opérera la sélection sur la base des critères suivants :

• La capacité à proposer un projet artistique avec les formes de pensée contemporaines, reflétant les transformations et les innovations des domaines des arts
• La qualité des œuvres proposées.
• La capacité à proposer des interactions possibles autour des œuvres.
• Les conditions de faisabilité et de réalisation du projet proposé.
• Les dossiers des artistes albertains seront traités en priorité.
• Cet appel s’adresse aux artistes francophones ou artistes

Le résultat vous sera communiqué au mois dans la première semaine de mars 2020.

Les modes d’envoi :

Nous encourageons l’envoi des dossiers électroniques au : direction [arobas] galeriecava [point] com

Par la poste à l’adresse :

Centre d’arts visuels de l’Alberta

9103 95 avenue NW

Edmonton, Alberta T6C 1Z4

Veuillez ne pas envoyer d’œuvres originales, il n’y aura aucun retour de dossier.

Pour voir le plan de la galerie, veuillez cliquer ici.

•••••

Prix Sobey pour les arts

La plus prestigieuse distinction dans le domaine de l’art contemporain au Canada

Créé en 2002, le Prix Sobey pour les arts vise la promotion de nouveaux talents en art contemporain canadien, en plus d’offrir aux artistes contemporains canadiens une chance unique de bénéficier d’une visibilité sur les scènes nationale et internationale.

Le programme représente un engagement total de plus de 650 000 $ CA annuellement. Cette année, des bourses totalisant une somme de 240 000 $ seront octroyées, dont un prix de 100 000 $ à la grande gagnante, 25 000 $ à chacun des quatre autres finalistes, et 2 000 $ aux vingt autres artistes figurant sur la liste préliminaire. Outre les prix en argent, trois des artistes de la liste préliminaire prendront part au Programme de résidences Sobey. Enfin, l’un des finalistes sera sélectionné par Fogo Island Arts pour participer à une résidence annuelle.

L’appel de candidatures pour le Prix Sobey pour les arts 2020 est maintenant ouvert!

Tous les documents relatifs aux candidatures doivent parvenir au Musée des beaux-arts du Canada au plus tard à 18 h (HNE), le vendredi 6 mars 2020.

Le Musée des beaux-arts accepte les mises en candidature pour le Prix Sobey pour les arts 2020 de la part d’agents, d’artistes et d’établissements reconnus. Le Musée des beaux-arts du Canada enverra par courriel à l’expéditeur un accusé de réception du dossier de candidature. 

https://www.gallery.ca/sites/default/files/saa2020_nomination-form_fr.pdf

•••••

Folie/Culture

Pour la dernière année de notre thématique Marchez sur des œufs !, Folie/Culture appelle à la déraison pour qu’advienne une réflexion sur les nouvelles formes de contention. Ainsi, l’organisme se délectera de l’imparfait, du monstre et de ses aléas et posera davantage un regard sur l’injonction à l’exemplaire dans nos sociétés de contrôle.

Par cette thématique, Folie/Culture tente de répondre notamment à ces questions :
Qu’en est-il des formes d’expression des gens hors normes, sous le diktat de l’exemplaire ?
Que peut-il advenir dans un monde où rien ne devrait être bousculé ?
Quelles seraient les formes d’art qui s’autoanéantissent elles-mêmes par rigueur éthique ?
Comment aborder certaines tensions sociales par l’art sous l’égide de la culture du commentaire et du regard bienfaisant des pair.e.s artistes ?
À l’ère du tout profilé, du tout contrôlé, qu’advient-il de l’art à engagement politique et son potentiel contestataire ?
Croulant sous d’innombrables charges qu’amène notre système néolibéraliste et face à l’épuisement et à la médicamentation qui en découlent, comment pouvons-nous raisonnablement dire ?

Par ce triple appel, l’un pour le programme d’artiste assigné.e à résidence, l’autre pour un événement multidisciplinaire collectif et le dernier pour la Minute vidéo, Folie/Culture n’hésitera pas à casser bien des œufs.

Veuillez prendre note qu’il est possible de proposer un dossier pour un, deux ou trois de ces programmes.

DATE LIMITE 15 MARS 2020­­­­

Artiste assigné.e à résidence est une initiative qui prend forme sur un an. Pendant ces douze mois, un.e artiste est invité.e à créer autour de notre thématique Marchez sur des œufs ! Ainsi, l’artiste assigné.e à résidence bénéficie d’un soutien et d’une diffusion tout au long de ladite résidence, mais sans être pour autant enfermé.e dans un lieu précis.

« Assigné.e à résidence » est un terme utilisé en droit pour qualifier une personne devant demeurer en résidence sous surveillance, une peine accablant non pas uniquement les condamné.e.s, mais bien un ensemble d’individus de la société coincés chez eux pour des raisons économiques ou de santé mentale. Être artiste assigné.e à résidence est une joie et une peine à purger pendant un an durant lequel l’artiste – conjointement avec Folie/Culture – est amené.e à réaliser des projets où bon lui semble, comme bon lui semble.

L’artiste sera convié.e à travailler avec l’équipe de Folie/Culture pour présenter une intervention d’ouverture ou de mi-parcours ainsi que de fermeture, entre autres.

Cachet d’artiste : 2250 $
Remboursement de matériel : 500 $
Per diem et hébergement compris pour deux événements, l’un d’ouverture et l’autre de fermeture de résidence.

Documents à faire parvenir à programmation [arobas] folieculture [point] org:
Un échéancier et une courte description de votre projet potentiel ;
Votre démarche d’artiste (500 mots) ;
Votre curriculum vitae d’artiste (3 pages maximum) ;
Un dossier visuel de 10 images maximum ;
Tout document complémentaire relatif à votre proposition de résidence.

Si vous désirez proposer un dossier pour l’appel d’artiste assigné.e à résidence, veuillez n’inscrire que le mot résidence dans l’objet de votre courriel.

DATE LIMITE 15 MARS 2020­­­­

En guise de clôture de notre programmation, Folie/Culture désire produire un événement multidisciplinaire et collectif présentant des œuvres inédites d’artistes de tous acabits. Ainsi, nos critères de sélection pour cet événement seront : Les liens possibles avec la thématique Marchez sur des œufs !
L’aspect déjanté, hors norme et original de la proposition.
La mise en relation possible avec d’autres propositions en vue d’un événement collectif.
La conjugaison possible entre votre proposition et des problématiques sociales.
La qualité de la proposition.
Les propositions recueillies pourront être présentées dans un espace de galerie ou encore dans un espace public, lors d’une soirée évènementielle ou encore dans tout autre contexte. Ainsi, Folie/Culture élaborera un contexte d’événement qui mariera le mieux les différentes propositions.

Cachet d’artistes : 500 $

Per diem, déplacement et hébergement compris.

Documents à faire parvenir à programmation [arobas] folieculture [point] org    Une présentation de projet (500 mots maximum) ;
Votre démarche artistique (500 mots maximum) ;
Votre curriculum vitae d’artiste (3 pages maximum) ;
Un dossier visuel de 10 images maximum ;
Tout document complémentaire relatif à votre projet.
Si vous désirez proposer un dossier pour l’événement multidisciplinaire collectif, veuillez n’inscrire que le mot événement dans l’objet de votre courriel.

DATE LIMITE 15 MARS 2020­­­­

Folie/Culture récidive avec son invitation pour la Minute vidéo. L’organisme propose à tous les artistes professionnel.le.s ou amateur.rice.s, membres, proches et intervenant.e.s du milieu social de réaliser une vidéo d’une durée d’une minute suivant notre thématique Marchez sur des œufs !

Les Minutes vidéo sélectionnées seront projetées à l’occasion d’une soirée publique dans le cadre de notre programmation 2020-2021. Tel que susmentionné, Folie/Culture s’intéressera à la déraison et, à son opposé, la retenue lors de la sélection des propositions.

Pour participer, il suffit de réaliser une vidéo d’une minute exactement qui aborde le thème Marchez sur des œufs ! et la faire parvenir à programmation [arobas] folieculture [point] org.

Aucun générique n’est accepté et seule la musique originale ou libre de droits est admise.

Cachet d’artiste : 75 $

Si vous désirez proposer un dossier pour la Minute vidéo, veuillez n’inscrire que le mot minute dans l’objet de votre courriel.

DATE LIMITE 15 MARS 2020­­­­

Site web

•••••

Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick

Deux appels d’offres pour la réalisation de projets artistiques avec composante en médiation culturelle à Shediac et Saint-Quentin.

http://www.aaapnb.ca/salledepresse/affiche?aaapnb_id=1166

Date limite pour soumettre : 14 février 2020 à midi.

•••••

Programmation 2020-2021 / Espaces F
7 février 2020

/ Matane (Québec)

ESPACES F un centre d’ertiste dédié à la diffusion, à la création-production et à l’action culturelle en arts visuels, numériques et interdisciplinaires, tout en vouant une attention particulière aux recherches en photographie et en vidéo. La diversité des démarches actuelles dans ces domaines est au cœur de ce mandat. Elle se reflète dans sa programmation régulièreet sa participation annuelle à l’événement PHOS .

PDF de l’appel ICI 

Espaces F
520, avenue Saint-Jérôme Bureau 4,
Matane (Québec) G4W 3B5

•••••

DÉCROISSANCE
APPEL DE DOSSIERS 2020-2022
Artistes et commissaires indépendant.e.s
Date limite : 16 février 2020

Orientation artistique 2020-2022
DÉCROISSANCE
C’est avec un esprit préoccupé que Regart, centre d’artistes en art actuel, propose aux artistes et aux commissaires de réfléchir à la décroissance dans le cadre de l’appel de dossiers 2020-2022. Un esprit préoccupé par l’urgence climatique, préoccupé par le surmenage des artistes et des travailleur.se.s culturel.le.s, préoccupé par l’empreinte écologique des pratiques artistiques, un esprit préoccupé par le paradigme d’une croissance économique perpétuelle.

Comment imaginer un art qui en fait moins, mais qui fait mieux; imaginer un art qui ralenti, un art en décroissance? Comment faire de l’art une ressource renouvelable? Comment développer de nouvelles formes artistiques qui résistent à la croissance? En quoi l’art peut contribuer à repenser les fondements du système économique actuel?

Trace de la performance « Un mouvement : femmes qui dansent » de Michelle Lacombe présentée le 23 septembre 2018 dans le cadre de l’exposition « Utopie comme méthodologie » commissaire Amber Berson.    ©Jérôme Bourque
Regart, centre d’artistes en art actuel
Implanté à Lévis, Regart, centre d’artistes en art actuel assure, depuis 1986, une présence dynamique des arts visuels actuels auprès des publics des territoires de Chaudière-Appalaches et de Québec.

Présentée en galerie et dans l’espace public, la programmation de Regart met en lumière des productions qui relèvent de l’hybridation et de l’expérimentation, où la qualité artistique et le discours théorique sont valorisés. Le centre favorise l’expérimentation et la recherche par des projets spéciaux qui amènent les artistes à recontextualiser leur pratique.

Dossier
Les artistes et les commissaires indépendant.e.s sont invités à nous présenter leurs dossiers.

Rassemblés dans un dossier identifié à votre prénom et nom :

1 document PDF incluant un curriculum vitae, une démarche artistique, une proposition de projet, une liste descriptive des images envoyées;
15 fichiers images (maximum)  / OU / une liste avec un maximum de 5 liens vidéo avec les mots de passe, s’il y a lieu.
Merci de faire parvenir vos propositions par courriel ou par Wetransfer à : info [arobas] centreregart [point] org.

À noter : Regart devra déménager dans un lieu indéterminé au cours de sa programmation 2020-2022. En conséquent les propositions n’ont pas à se limiter aux espaces d’exposition actuels de Regart et peuvent s’imaginer dans une variété de configurations possibles.
Aucun dossier envoyé après le 16 février ne sera accepté.
Un accusé réception sera envoyé à toutes et à tous dans les 5 jours.
Pour toutes informations supplémentaires, merci de contacter Gentiane La France, Responsable des communications et de la coordination : communications [arobas] centreregart [point] org

http://www.centreregart.org/appel-de-dossiers/

 

 

2. appels en anglais du Canada

Call for Proposals: 2020-2021 Exhibition Season
Living Arts Centre Gallery, Mississauga

Deadline: March 13

Artists, collectives and arts organizations from the Mississauga region are invited to submit proposals for upcoming contemporary art and craft exhibitions.

Read more

•••••

Images Festival Call for OFF SCREEN & LIVE Submissions

Images Festival is pleased to open our call for OFF SCREEN and LIVE submissions that accepts program and exhibition proposals for cinema screenings and gallery exhibitions on a rolling basis.

Proposals will be reviewed in the summer and early fall over an extended period of planning as the festival’s program and presenting partnerships begin to take form.

Proposals received in one review cycle may not be conceptually complementary or logistically possible for the upcoming festival year. However, the removal of a fixed submission deadline allows Images to consider proposals in greater depth, assess capacity, and prepare to seek funding and partnerships to meaningfully support the realisation of the presentations.

ABOUT IMAGES FESTIVAL

Images Festival annually exhibits film and video installations, media-based performances, and online work alongside its ON SCREEN program of film and video works. For the OFF SCREEN and LIVE segments of the festival, Images partners with GTA-based galleries, production centres, and other organizations.

Images presents work that counters dominant mainstream narratives and provides alternative ways of thinking and seeing that expands the understanding of media art through our programming and education-based initiatives.

Images Festival does not select films based on any particular themes, genres or aesthetic categories but selects moving image works that share formal and political sensibilities which emerge from recent critical discourses between contemporary art, cinema and media arts.

SUBMISSION GUIDELINES

DATES

The 33rd edition of Images Festival will take place between April 16 to 22, 2020.

SUBMISSION DEADLINE

ONGOING

https://imagesfestival.com/submissions/off-screen

•••••

Architecture + Design Film Festival: Call for 2-min short films, Submission Deadline March 21

Deadline 21 March 2020

Call for 2-min Short Films celebrating Architecture & the narrative potential of places, real or imagined. ArchiShorts is a Free FilmContest open to all. Winning films will screen as part of Winnipeg’s 9th annual Architecture + Design FilmFestival (April 22-26, 2020).
Deadline for submissions to the ArchiShorts contest is March 21, 2020. We typically receive submissions from across Canada and around the World.
Past winners include emerging archi-filmmakers in India, Ireland, Italy, Texas, New York, Toronto, Montreal, Ottawa, Winnipeg, and Victoria BC. Find out more here > https://adff.ca/archishorts

•••••

MHC Gallery: Call for artists: Breaking the Silence on Domestic Violence 2, Submission Deadline February 25

MHC Gallery

Call for artists: Breaking the Silence on Domestic Violence 2

Calling on artists of all ages, genders and skill levels to join in the effort to put a stop to domestic violence. Details at www.cmu.ca/gallery/

Send digital images of up to two artworks to rdirks [arobas] cmu [point] ca. Inquiries, isabelcheer [arobas] gmail [point] com

submission deadline: Feb. 25, 2020

exhibition dates: March 20-May 2, 2020

address: MHC Gallery, 600 Shaftesbury Blvd., Winnipeg, south campus of Canadian Mennonite University

•••••

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

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

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

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

Submission PDF (max 7MB) must include:

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

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

306-652-0044
akaartistrun.com

•••••

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

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

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

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

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

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

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

 

3. appels internationaux

Les inscriptions pour les 33^es Instants Vidéo 2020 sont ouvertes !

Bonjour,

    la 33e édition du festival Les Instants Vidéo débutera en novembre 2020 (exposition, projections, performances…) à Marseille à la Friche la Belle de Mai et dans d’autres lieux de la ville.
    Comme chaque année, le festival se déroulera aussi dans d’autres villes de France ou à l’étranger.
    Chaque lieu recevra une programmation spécifique.
    Le texte d’Appel à candidaturesqui suit fait état des questions que l’équipe des Instants Vidéo se pose en ce moment. Il ne s’agit pas d’une thématique. Chaque artiste a le choix d’en tenir compte ou pas.

33e FESTIVAL LES INSTANTS VIDEO Novembre 2020 – Marseille (et ailleurs)
APPEL A PARTICIPATION – Date limite : 5 juin 2020

La beauté d’un geste éperdu
(un appel dédié à Annie Le Brun qui nous a fait ressentir la beauté profonde du mot éperdu)

    Le monde s’est enlaidi. Les guerres avec leurs cortèges de ruines et de cadavres, la misère galopante, les forêts et les océans maltraités, de ce côté là, rien de nouveau sous le soleil. La laideur inédite résulte d’une épidémie bien plus violente que la peste : la marchandisation de la quasi-totalité du monde. Une guerre menée contre tout ce dont on ne peut extraire de la valeur, une guerrecontre la passion et la vie déraisonnable. Une guerre contre le désir et les corps sans lesquels il ne peut y avoir de pensée.
    Si l’art fit longtemps figure d’exception, déployant ses innombrables formes habitées par le désir indomptable, force est de constater que dans sa forme dite « contemporaine » il est de moins en moins possible de le distinguer des esthétiques de pacotille qu’imposent à notre regard et à notre ouïe l’omniprésence uniforme de la marchandise. Nos corps, nos villes et nos musées d’art contemporain, partout dans le monde exposent les mêmes objets, les mêmes images, les mêmes marques, les mêmes signes, transformant la planète en un immense parc d’attraction puérile ou en une immense zone commerciale digne d’un aéroport.
    Plutôt que d’habiter poétiquement le monde, nous sommes en transit, des morts en permission, des objets consommables et jetables. Nous habitons l’empire de la positivité marchande d’où doivent être bannis objection, lutte, heurt ou conflit. Or, nous signale William Morris, la laideur n’est pas neutre ; elle agit sur l’homme et détériore sa sensibilité, au point qu’il ne ressent même pas sa dégradation, ce qui le prépare à descendre encore d’un cran.
    La pensée n’est pas à l’écart de cette globalisation de la médiocrité. Elle s’est lâchement adaptée à notre époque consommatrice d’insignifiance. Les conséquences sont terrifiantes. Les corps sont les premiers à en pâtir, pétrifiés par les eaux glaciales du calcul égoïste, ils gisent mutilés, réduits à la plus simple expression de leur valeur marchande, de leur capacité à générer du profit. Ils n’ont plus qu’une seule liberté, celle d’obéir. Ils n’ont plus qu’un seul horizon, s’accoutumer à la laideur.
    Dans l’œil du cyclone de l’horreur économique, qui est la pire des catastrophes climatiques, SURGISSENT là où on ne les attend pas des météorologues du désir. Ce sont les féroces poètes, les femmes et les hommes dont la mesure est à hauteur de leurs débordements, qui par un geste foudroyant nous libèrent de plusieurs siècles de domestication et de résignation folle, en tentant d’affranchir l’imagination par un long, immense, raisonné dérèglement de tous les sens comme nous y invite Rimbaud.
    Ce geste lève le voile d’une beauté à réinventer. Il est le trait d’union entre la nécessité érotique de nos corps et la nécessité critique de la poésie et des images.
    Ce sont ces gestes météorites que le festival souhaite saisir à leur passage.

Formulaire d’inscription ici : https://www.instantsvideo.com/blog/archives/5425

•••••

2020 Exhibition season Open Call for Participating artists
Deadline February 17th
(All submission except for Pink Flamingo are due February 17th)

Flux Factory is seeking artists and creators to participate in our 2020 exhibition Season. Each year Flux Factory hosts four group exhibitions, organized by emerging curators selected from the wide cohort of recent Flux Factory Artists-in-Residence.

Known for thoughtful interactivity, collaboration and playful programming, each of the 2020 exhibitions explore questions of community and interdependence through an experimental lens. Please visit our 2019 group exhibitions to view past projects: Talk Back, Wicket Leeks, Must They Also Be Gods, and RUB.

Share this Open Call on Facebook

Each exhibition has unique requirements and needs, so please read the guidelines thoroughly and apply to the exhibition that best suits your work. Every participating artist, educator, cook, musician, designer, and so on, will be paid a stipend for their participation.

Flux Factory is located at 39-31 29th Street Long Island City, NY 11101

•••••

Application deadline: March 3

DLECTRICITY Detroit, Michigan dlectricity.com midtowndetroitinc.slideroom.com

Dlectricity is Detroit’s festival of art + light that showcases site-specific installations by established and emerging artists from the US and around the world. DLECTRICITY is pleased to announce the 2020 open call for entries.
Up to 25 site-specific, outdoor projects for Midtown Detroit’s Woodward Corridor and DTE Beacon Park will be selected through this call. Dlectricity is looking for high-quality projects that will activate the outdoor, nighttime landscape of Midtown Detroit’s Woodward Corridor including: light installations / video art / 3d video mapping projections /  multimedia installations / interactive and community engaging technology / artificial intelligence and robotics / works that utilize mobile platforms (smart phones, tablets) / performance (art, dance, theatre, music) / talks and workshops / kid-friendly and/or educational experiences /  creative and/or interactive marketing experiences for the festival / the unexpected
The DLECTRICITY Curatorial Committee, including Detroit-based curators and arts professionals, will select the winning projects. The committee consists of:
Taylor Aldridge: Curator, writer and co-founder of ARTS.BLACKAbir Ali: Architect and designer, DetroitLarry Baranski: Director of Public Programs, Detroit Institute of ArtsAnnmarie Borucki: Director of Arts & Culture, Midtown Detroit, Inc. and Director of DLECTRICITYPat Elifritz: Curator of New Media and Technology, MOCADAtiim J. Funchess: Assistant Director for Marketing, Detroit Public LibraryChrisstina Hamilton: Director of Visitor’s Programs, Stamps School of Art & Design at the University of MichiganMegan Heeres: Beacon Park Manager, DTE Beacon ParkLaura Mott: Senior Curator of Contemporary Art and Design, Cranbrook Art MuseumGeorge N’Namdi: Owner, N’Namdi Center of Contemporary ArtScott Northrup: Assistant Professor, Entertainment Arts, College for Creative StudiesMarc Schwartz: Founder, Art Detroit Now and Curatorial Committee Chair of DLECTRICITYReggie Woolery: Director of Education, Charles H. Wright Museum of African American History
Criteria for selection will include creativity, innovation and suitability for display at DLECTRICITY. Accepted projects will be funded up to 4,000 USD. Artists will also receive a 1,000 USD honorarium.
Anyone can apply via our online Slideroom application found here. The closing date for applications is March 3, 2020 at 11:59pm EST. The selected projects will be announced in May 2020.
DLECTRICITY is a biennial Nuit Blanche festival that was last launched in the fall of 2017, transforming the iconic Midtown Detroit neighborhood into a spectacular nighttime environment of temporary public art. 150,000 people attended the 2017 festival. DLECTRICITY is produced by Midtown Detroit, Inc., a nonprofit planning and development agency charged with the revitalization of Detroit’s Midtown District.
DLECTRICITY will commission projects by local, national and international artists of acclaim to exhibit alongside projects selected from the Open Call. Over two nights, a broad and diverse audience will see Midtown Detroit’s buildings and architecture in a new light. DLECTRICITY is scheduled for September 25–26, 2020.
More information about the DLECTRICITY open call including full application guidelines are available at DLECTRICITY.com.

•••••

Call 业绩要求 Convocatoria Русский Convocation

Chame コールのパフォーマンス Citazione

Talks / Workshops / Writings / Performance / Urban Intervention / Theater /

Performance Photo / Video Performance / Documentary / Live Transmissions…

Deadline / 2-22-2020 / Fecha Límite

Charlas / Talleres / Escritos / Performance / Intervención Urbana / Teatro

Foto Performance / Video Performance / Documental / Transmisiones en Vivo…

http://www.perfoartnet.org/Biennial-2020-PerforARTnet-Performance-Art-Emancipation-Emancipacion.html

•••••

MAC International 2020: Open call for submissions

The MAC (Metropolitan Arts Centre)
10 Exchange Street West
BT1 2NJ Belfast
Northern Ireland
Hours: Monday–Sunday 10am–6pm

T 02890 235 053
info [arobas] themaclive [point] com

themaclive.com

MAC International is the largest arts prize in Ireland and one of the few major art prizes in the UK, offering artists from around the world an opportunity to exhibit at the MAC (Metropolitan Arts Centre) in Belfast, with a prize of 20,000 GBP awarded to the artist deemed to have made an outstanding contribution to the exhibition.

Now in its fourth edition, MAC International presents a snapshot of the most exciting and ambitious art practices from across the world. Previous recipients of the MAC International Prize of £20k have been: Mairéad McClean (2014); Jasmina Cibic (2016); Nikolaus Gansterer (2018).

MAC International 2020 is now open for submissions.

Deadline for applications is March 26, 2020, midnight (BST).

Click here to submit your entry for MAC International 2020.

The shortlist of exhibiting artists will be announced in summer 2020 and the exhibition will run from November 20, 2020–March 14, 2021.

 

4. résidences

Indigenous Artist-in-Residence in Studio Art

School of Fine Art and Music
College of Arts
University of Guelph

Call for Applications
Date Posted: January 2020
Deadline: March 1, 2020

Project Description

The University of Guelph is requesting applications from professional artists for the Indigenous Artist-in-Residence program. This is an opportunity for a First Nations, Inuit, Métis, Native American, Alaskan Native or Native Hawaiian artist to develop artwork, engage with the university community and the residents of Guelph and region throughout the duration of the residency.

The University of Guelph Indigenous Artist-in-Residence will be situated in the School of Fine Arts and Music for one semester beginning September 1, 2020 and will be supported with suitable office/workspace, administrative support, communications support, technical support etc. The artist will have access to the facilities offered in studio art. The Artist-in-Residence will meet with students, faculty, staff and community, participating in the activities of the Department.

Local Context

The University of Guelph resides on the treaty lands and territory of the Mississaugas of the Credit and the lands of the Dish with One Spoon. The University is committed to supporting and enhancing the engagement of First Nations, Métis and Inuit learners, scholars and communities in post-secondary education and research. There are numerous campus initiatives actively working toward decolonization and developing spaces for the inclusion of Indigenous ways of knowing, being and doing.

The University of Guelph is a learner-centered and research-intensive university renowned as Canada’s Food University for its agricultural roots and dedication to sustainability initiatives. The University’s Arboretum, with 8.2 kilometres of trail over 165 hectares, is used by the on-campus and off-campus community as an outdoor learning space with medicinal and tea gardens tended to by the local community. On campus there is an engaged Aboriginal Student Association with undergraduate and graduate student representatives, as well as an Aboriginal Resource Centre that will offer support during the residency. The Art Gallery of Guelph, located on the university campus, has a substantial collection of Indigenous artworks and the artist in residence will have access to these collections.

Budget

The overall budget allotted to this project is $25,000 (inclusive of taxes). This budget will support materials, travel, accommodation, artist fees and costs related to the project.

Selection Criteria

Applications will be evaluated by the Selection Panel, which includes Indigenous representation, on the basis of artistic merit, expressed written interest and submission materials listed below.

Submission Check List

1. Curriculum Vitae (PDF)
2. Contact information (Full name, address, email, phone number, website)
3. Artist Statement (Approx. 250 Word – PDF): Please include how you position yourself as an Indigenous artist.
4. Project Proposal (Approx. 550 Word – PDF)
5. Proposed Community Engagement Activities (Approx. 250 Word – PDF): This could include (but is not limited to) artist talks, workshops, seminars, studio visits, and other outreach activates.
6. Portfolio: Please submit 10 original works, which could include:
   • Image files; submitted as JPG or PDF (Maximum file size of 5MB)
   • Audio files; submitted as MP3 or MP4
   • Video files; submitted as AVI, MOV, MPEG, MP4, Vimeo Link
7. Portfolio works list: title, date, scale, and description (PDF)
8. Up to three published support materials such as exhibition brochures, reviews, articles etc. (Optional)

Timeline

Call to Artists Opens: January 2020
Deadline for Submissions: March 1, 2020
Selected Applicant Notified: April 1, 2020
Proposed Start Date: September 1, 2020
Proposed End Date: December 31, 2020

Applications should be submitted electronically to:

Nicola Ferguson
Administrative Assistant to the Director
School of Fine Art and Music (SOFAM)
Email: nifergus [arobas] uoguelph [point] ca
Phone: 519-824-4120 Ext: 53988

•••••

Studio Workspace Residency | 4-6 weeks
Apply by April 1

An opportunity for artists to create new work and fully immerse themselves in WSW’s supportive environment. This residency gives artists the gift of time, an uninterrupted period to live and work away from the stresses of daily life in any of our studios. Apply here!

Art-in-Ed Workspace Residency | 4-5 weeks
Apply by April 1

The Art-in-Education Workspace Residency is for artists interested in working with local school students while creating their own work in WSW’s immersive environment. Resident artists must be able to teach intaglio, silkscreen, or hand papermaking, and are welcome to complete their personal work in any of WSW’s studios. Apply here!

Chili Bowl Workspace Residency | 4-6 weeks
Apply by April 1

We aim to provide ceramic artists with the time and space to live and work creatively. Awardees make bowls for our annual Chili Bowl Fest fundraiser and in exchange get housing and 24/7 studio access for their own work. Apply here!

•••••

Appel de candidatures

LUMINOUS BODIES: Representing the Human Body in Diversity
Program Dates: June 29–July 13, 2020
Submission Deadline: Feb 24, 2020

Luminous Bodies is a two-week residency to create artworks that shed new light on the human body. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Resident artist talks, gallery tours, visual and textual references, guest artist talks, and regular critiques (individual with Facilitator and group critiques) help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance, installation, sound, movement, media art, etc. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life into a creative journey of critical innovation and self-discovery. People with disabilities, people of colour and diverse gender identifications are encouraged to apply.

Artscape Gibraltar Point is an artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom (private or shared), and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is a barrier free and inclusive environment. The Toronto city core is just a 15-minute ferry ride away.

Apply by filling out the form: www.artscapegibraltarpoint.ca/artist-residences/book-a-residency

Please include your website or link to your work, indicate you are applying to Luminous Bodies, and your preferred accommodation.

For questions about programming, email: info [arobas] LuminousBodies [point] com
For questions about Artscape Gibraltar Point amenities, email: ALochhead [arobas] Artscape [point] ca

•••••

Vous êtes un artiste ou un professionnel étranger de la culture et séjournez à Paris dans le cadre de votre travail ? Vous pouvez déposer une demande de logement à la Cité internationale universitaire de Paris en ligne : http://workflow.ciup.fr/citeu/site/login.php

Certains logements sont spécifiquement adaptés à l’activité artistique : la Cité internationale dispose de deux ateliers-logements pour artistes plasticiens et six studios avec cabine insonorisée pour les musiciens. Les différentes maisons de la Cité internationale peuvent également accueillir des artistes et professionnels de la culture en fonction de la disponibilité de leurs logements (sans espace de travail). Le tarif des logements varient selon le type, le confort et la durée du séjour.

Si votre nationalité est représentée par une maison de la Cité internationale, renseignez-vous auprès d’elle pour connaître la démarche à suivre. Cf. http://www.ciup.fr “les maisons”.

Si cette maison représentant votre nationalité n’a pas de disponibilité, votre demande pourra être transmise aux autres maisons de la CIUP, sous réserve de la validation de la demande par la CIUP.

Les statuts de la cité prévoient en effet que pour y être admis, la venue de l’artiste doit s’inscrire dans le cadre d’un projet précis soutenu institutionnellement (venue sur invitation d’une structure culturelle française, ou sur envoi d’une structure culturelle du pays de résidence de l’artiste, pour une réalisation spécifique). Cette institution doit soutenir financièrement le projet, et donc le séjour de l’artiste à Paris.

D’autre part, la cité prévoit dans ses statuts que les artistes soient étrangers ou en mobilité internationale.

sans date limite

 

5. art public

Call to Artists: Temporary Floating Public Art, Waterfront Toronto

Call to Artists: Temporary Floating Public Art
Harbour Square Park Basin, Toronto

Opportunity

Waterfront Toronto is seeking to commission a professional artist or artist team to create a temporary floating artwork for Harbour Square Park Basin. Artists are asked to submit proposals for installation during summer 2020. The artwork will activate the basin by engaging with the local community and visitors to the waterfront.

Harbour Square Park is located on the shore of Lake Ontario, one of the five Great Lakes of North America. Containing one-fifth of all surface freshwater on Earth, the lakes are a vital source of drinking water and food. Throughout history these interconnected bodies of water have been critically important for trade, human settlement and migration. They are sacred to the First Peoples, who have inhabited the shores and fished in their waters since time immemorial. The lakes’ unique ecosystems are host to a diverse array of plants and animals, and their shores and waters provide recreation for millions of people.

Today, multipoint pollution, climate change, over-extraction, invasive species, and wetland loss are all taking a toll on their watersheds. Water scarcity, often perpetuated by climate change, is one of the most pressing global challenges today, particularly in its relationship to migration. It is imperative we remain engaged with the importance of these waters and with the challenges they face.

With this context in mind, artists are asked to develop work that explores water as a connector. They should consider the history and importance of these waterways and their role as geographical, ecological, political, economic, social, and spiritual connectors.

General Submission Requirements

Waterfront Toronto is inviting practicing professional artists to include in their submission:

• Artist statement
• Images of proposed artwork
• Proposed budget breakdown and schedule
• Images of previous and relevant work
• Artist CV
• References
• Submission Form

This is a one-stage competition. Submissions will be reviewed by an independent jury convened for this project. Waterfront Toronto intends to identify one successful Proponent to undertake this project.

Budget

The total commissioning budget is $45,000 CAD +HST. This includes all artist fees, design costs, materials, shipping, installation and removal, insurance and permits.

Timeline

Issue RFP – January 29, 2020
Deadline for Questions – February 28, 2020
Submission Deadline – March 16, 2020
Proponent Selection – Late March 2020
Contract Issued – Early April 2020
Fabrication – April-July 2020
Installation – Mid-July 2020
Artwork removal – September 2020

For more information about the opportunity, including detailed submission requirements, visit our website at:
https://waterfrontoronto.ca/nbe/portal/waterfront/Home/waterfronthome/procurement and click on the “current procurement opportunities” tab.

Submission deadline is March 16, 2020 at 2:00pm EST

Please direct all enquiries by email to: procurement [arobas] waterfrontoronto [point] ca, to the attention of Sam Petralito, and reference the Opportunity number (RFP #2020-05) in your email. Responses to enquiries will be posted on our website at https://waterfrontoronto.ca/nbe/portal/waterfront/Home/waterfronthome/procurement under the “current procurement opportunities” tab.

This page is a letter of introduction only. Please read in full the Waterfront Toronto Request for Proposals document RFP #2020-05 which contains instructions, evaluation criteria, submission requirements, site details and technical requirements, and terms and conditions.

•••••

The Brantford Public Library invites muralists to submit their credentials, examples of prior experience and a design proposal for the development and execution of indoor murals, as part of the Library’s Children’s Area Upgrade project.

There are two separate sites in the Library’s children’s area at 173 Colborne St. Artists are able to submit proposals for both sites either as two separate projects, or one cohesive project. Both sites may be awarded to one artist or artist collective, or each site may be awarded to different artists or artist collectives.

For full project details visit https://www.brantfordlibrary.ca/en/about-the-library/careers.aspx

Application deadline

All submissions are due on or before Sunday, March 1 at 11:59 pm.

Submissions should be formatted as a single PDF.

Incomplete applications or those received after the deadline will not be accepted.

Application materials will not be returned.

Questions

If you have any questions about this opportunity please contact:
Zile Ozols – Manager, Programming and Outreach
Brantford Public Library
519-756-2220 x. 3314
zozols [arobas] brantfordlibrary [point] ca

•••••

Valley Line West – Elevated Guideway Ramps RFQ
Edmonton Arts Council

Info Sessions: February 19
Deadline: March 9

Professional artists, artist teams/collectives residing in the Edmonton Metropolitan Area are invited to submit qualifications for public artwork on two concrete ramp facades.

Read more

•••••

Valley Line West – Misericordia Station RFQ
Edmonton Arts Council

Info Sessions: February 19
Deadline: March 9

Professional artists and artist teams/collectives residing in Canada are invited to submit qualifications for a public art project at the upcoming Misericordia LRT station.

Read more

•••••

Valley Line West – West Edmonton Mall Station Public Art Project RFQ
Edmonton Arts Council

Info Sessions: February 19
Deadline: March 9

Professional artists and artist teams/collectives residing in Canada are invited to submit qualifications for a public art project at the upcoming West Edmonton Mall LRT station.

Read more

•••••

La Ville de Boucherville
Date: 1er mars

Oeuvre éphémère

un appel de dossiers pour la réalisation d’une œuvre d’art éphémère sur son territoire ainsi que le lien vers l’appel de dossier disponible sur le site de la Ville de Boucherville :

https://boucherville.ca/wp-content/uploads/2019/11/FOR_Appel-de-dossiers_Oeuvre-%C3%A9ph%C3%A9m%C3%A8re_2020final.pdf

•••••

La date limite pour soumettre un dossier est le 1^er mars 2020.

King William Street Beacon and Gate Public Art Project
City of Hamilton

Info Session: January 27
Deadline: February 27

Artists and artist-led teams are invited to submit proposals for a permanent public art work at the corner of King William Street and James Street North in downtown Hamilton.

Read more

 

 

6. pour commissaires

Call for Proposals

Vol. 25, No. 8: ‘Training Utopias’ (December 2020)

Issue editors:

Felipe Cervera, LASALLE College of the Arts, Singapore

Elizabeth de Roza, LASALLE College of the Arts, Singapore

Michael Earley, LASALLE College of the Arts, Singapore

‘For those of us whose relationship to popular culture is always marked by aesthetic and sexual antagonism, these stages are our actual utopian rehearsal rooms, where we work on a self that does not conform to the mandates of cultural logics such as late capitalism, heteronormativity, and, in some cases, white supremacy’.

José Esteban Muñoz (2009), Cruising Utopia: The then and there of queer futurity, p.111

Training is utopic. In principle, we train to become, to improve, to upgrade or simply, to be better. Who determines what is this ‘better’? We train in various ways and forms, and our training utopias are multiple and different. We train to become citizens, artists, educators as much as we also train in the military, camps and corporations. The world is made in the entanglement of multiple utopias and the trainings they demand. However, the materiality of the world and of the body are often a mismatch to the vision any training predicates. Indeed, the milieu in which a training system is implemented may amplify or undermine its practice. In the moment of implementation, utopian visions are also disturbed by the same socio-cultural milieu that shaped their imaginary. The tension between thinking and doing training is where the world happens. We train to embody multiple non-places in their utopic unbecoming. And yet, we continue to train and be trained.

Places, venues and institutions of training may be taken as heterotopias (Foucault 1967). In these places, the meaning of having a body has historically changed in relation to the function that the space is attributed within larger sociologies of practice. Sometimes, these places host the training needed for military, corporate and social engineering. In other times, however, they host practices that aim to explicitly contest a given spatial and temporal normativity. In theatre and performance, training venues have often been thought of along these lines, as a place that unsettles the normative spatial and temporal logics, and where intense training can take place and utopic attitudes maintained. Examples abound – especially during the twentieth century: Edward Gordon Craig’s short-lived training school at the Arena Goldoni in Florence (1912–13), the Staatliches Bauhaus, Kerala Kalamandalam, Moscow Art Theatre studio, the Group Theatre, Black Mountain College, various lab theatres modelled on Grotowski’s Polish Lab Theatre and Odin Teatret and Tadashi Suzuki’s training centre in Toga are but a few examples of a long list of training utopias, some short-lived and some continuing.

The histories and geographies (or non-histories and non-geographies) of these training places were the mirrors of utopian thought in the context of twentieth-century cosmopolitanisms and globalizing processes. In hindsight, however, we can appreciate that, even when utopic, many of the conceptual pillars of these examples failed to envision the dystopic future we experience today and each, in their own way, broke down or may have outlasted themselves. For example, twentieth-century intercultural training cannot be disassociated with its necessity for air travel and therefore with its carbon footprint. Moreover, its practice did not take into consideration the authorship of the trained body. In contrast, and as it has been widely discussed, its epistemology privileged a Eurocentric authorship that in turn contributed to geopolitics of training shaped by tendentious cultural diplomacy and exchange. This determined that the dynamics of the rehearsal space or studio limited the possibilities of transversal fluidity, and therefore of collective performance utopias. The trained body became, by proxy, the agency of the trainer’s knowledge, expertise or cultish appeal – their personal brand in a global network of elite travellers.

The utopia of training itself is in an impasse. What conversations do we need to have, at this historical and geothermal moment, to recover training from the hands of identitarian idealisms and naive pedagogies? What is the future of training in a time where the future is in crisis? What becomes of the trained body in the moment of planetary terminus? What is contemporary performance training in light of new materialist thought, post-globalisms, decolonial and hierarchical critiques, gender fluidity and spectrums, and post-human theories? How can we unsettle and maybe reset the authorship of our utopias? We cannot deny that training and authority exist hand in hand. What, then, becomes of the relationship status between teacher and student, master and disciple, in a moment when the authorship in and of the body so urgently needs a revision in relation to twenty-first century conditions? Is there room to propose a new training utopia?

This issue of Performance Research will look into the concept of training utopias. Contributions will include discussions on theatre and performance training but also training more generally as it evolves into an economic indicator and ecological necessity in post-industrial and late capitalistic societies.

Proposal topics may include:

• Histories of performance training and their connection to utopia and hope
• Para-training
• Critique of hegemonic discourses in actor training
• Decolonizing the conservatoire
• The tyranny of tradition
• Comparative perspectives in training
• Training manifestos
• New materialisms and performer training
• Planetary training and the future of cross-cultural training
• Digital and mediated training
• Training in/for the Fourth Industrial Revolution

References Foucault, Michel (1986) ‘Of other spaces’, trans. Jay Miskowiec, Diacritics (16): 22–7.
José Esteban Muñoz (2009) Cruising Utopia: The then and there of queer futurity, New York: New York University Press.

We are inviting essays of approximately 4,000 to 6,000 words and artist/trainer methodology pages (number of pages to be agreed with the editors). Please send 300–400-word abstracts plus a 100-word bio.

Schedule:

Proposals: 15 March 2020

First drafts: 1 June 2020

Final drafts: 15 August 2020

Publication: December 2020

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:

Felipe Cervera—felipe [point] cervera [arobas] lasalle [point] edu [point] sg

Michael Earley—michael [point] earley [arobas] lasalle [point] edu [point] sg

Elizabeth de Roza—elizabeth [point] roza [arobas] lasalle [point] edu [point] sg

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. Copyright clearance remains the responsibility of the author.
• 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 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.

•••••

Cosmic Bulletin
Call for papers

Submission deadline: April 14, 2020

www.rigabiennial.com

The Institute of the Cosmos announces a call for papers for publication in the Cosmic Bulletin: a free, single-issue journal, influenced by the philosophy of Russian cosmism and its historical and contemporary manifestations. The Institute of the Cosmos is a collective research project, developed as an artistic contribution for the Riga International Biennial of Contemporary Art (RIBOCA2), which opens to the public in May of this year. The Cosmic Bulletin is a publishing platform of the institute and will be made available to the public throughout the duration of the exhibition.

The bulletin will address the need for a creative investigation of the materiality of the cosmos and its strange universalism, from the perspectives of philosophy, anthropology, history of science and art. The bulletin intends to interrogate the current understanding of our biological and social conditions, and to map vectors of our future development, inspired by the history of cosmist thinking and the speculative practices that sustain it. The bulletin seeks to unlock the hidden potential of radical imaginaries across multiple fields and histories of knowledge.

We have many urgent questions: How can our understanding of time and space be expanded? How can our life-span be extended? What are the horizons of organic and inorganic life? How to control time? How to understand the unity of all that exists? How does our post-secular society challenge contemporary science, and vice versa? What kind of sociality will a cosmist future bring? How can life on Earth and beyond be elaborated? What could extra-terrestrial art and literature be? Are plants conscious and should we eat them? How to live without killing any form of life? We welcome you to think this through with us.

The Institute of the Cosmos invites scholars, artists, activists and autodidacts in all fields to contribute original studies, critical essays, theory and fiction pieces and other cross-genre forms of experimental writing.

Suggested topics:
– Genderless society and a post-reproductive condition
– Non-colonization of other planets
– Cosmopolitanism and cosmo-politics
– Cosmist aesthetics and evolutionary creativity
– Museum as a laboratory of resurrection
– Art without Death
– Active evolution of species
– Emancipation of inorganic matter
– Geo-engineering and terraforming
– Star anti-wars and total demilitarization
– Conservation of life, preservation and immortality
– Transformation of energy, nutrition techniques and autotrophic ecology
– Cosmic temporality and heuristics of time
– Cosmic subjectivity and cosmist consciousness
– Post-secular religiosity and techniques of re-enchantment
– Interplanetary medium, extra-terrestrial life and space travel
– Radical futurology and scientific fortune-telling
– Spatial communities and the commons in space
– Cosmocene and decentered space

The deadline for submissions is April 14, 2020.
Please email text as Microsoft Word document to cosmism [arobas] rigabiennial [point] com.

The Institute of the Cosmos is a project by Arseny Zhilyaev, Marina Simakova, and Anton Vidokle.

Want to learn more? Ongoing timeline of cosmism here, and e-flux journal on Russian cosmism here.

•••••

La revue Ciel variable recherche un coordonnateur de l’édition à temps partiel.
Description du poste : Poste de coordonnateur à l’édition
Date limite de dépôt des candidatures : le lundi 10 février 2020.

•••••

Program and Exhibitions Specialist
Workers Arts and Heritage Centre, Hamilton

Deadline: February 26

Reporting to the Executive Director, the successful candidate will be responsible for the development and coordination of programming, promotion and communications, and assisting with administrative tasks.

Read more

•••••

Director position available

Kunstmuseum Liechtenstein
Städtle 32
FL-9490 Vaduz
Liechtenstein
Hours: Tuesday–Sunday 10am–5pm,
Thursday 10am–8pm

T +423 235 0300
F +423 235 0329
mail [arobas] kunstmuseum [point] li

jobs.leadershipservices.at

The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring.

Director (m/f)
We offer a committed and innovative individual a challenging remit with many creative possibilities.

The profile of the role includes, in particular:
–Responsibility for the artistic and commercial management of the museum
–Maintenance, expansion and research of the collection
–Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level
–Responsibility for the operation of the museum and its staff

What we expect:
–A degree in history of art or an advanced level of expertise in modern and contemporary art  with proven curatorial experience
–Experience and networking in the international museum environment
–Strong conceptual, communicative and organisational skills with team-based
management experience in the museums sector
–Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region

Please send your application by March 9, 2020 to www.jobs.leadershipservices.at
Our consultant from Deloitte, Flora Kuras (T +43 1 537 00 2536), will be pleased to respond to your questions.
Deloitte, Renngasse 1, 1010 Vienna

•••••

Performance Research

Call for Papers: Vol 25:7 ‘On Hell’ (November 2020)

Issue Editors: Geraint D’Arcy, Richard Gough

Proposal Deadline: 14 February 2020

Hell is empty and all the devils are here.

The Tempest Act 1, Scene 2

In Kabuki the under-stage is known as the Naraku, literally translated as ‘Hell’. From the seriand suppon (types of trapdoor) demons ascend to the world of humanity and engage with the stage action. This issue of Performance Research is about the dark places under the stage, where things await their entrance.

David Wiles argues that the Greek and Roman stages may have been concerned with the horizontal action of human existence, but those theatres ‘used the vertical axis to articulate relations of human and divine’, while later theatre ‘focused its attention on … movement down to Hell, back up to earth and finally to heaven’ (Wiles 2003: 40). Pamela Howard established that there has long been an association with the ‘vertical height from above’ the stage used ‘to indicate divine space’ and, in contrast, ‘the depth below the stage floor as the demonic space’ (Howard 2009: 4). Under the wood-stage of nineteenth-century Europe was a hot, dark space of activity and anticipation. That depth was once vast and filled with machinery, devices, technicians and even menageries. Such spaces were used to reveal delights and create spectacle, acting as magic boxes full of wonder (D’Arcy 2012).

Contemporary theatre can be found in a multitude of spaces. All of them have an ‘above’, but very few now have an ‘under’. Those that do are either voids, spaces used for storage containing derelict machines or their traces, or rooms with modern contraptions rarely activated in the day-to-day running of the space above.

So where has Hell (and all its devils and magic) gone? In a contemporary theatre of presence and immediacy what now underlies the stage? How does what is not seen affect what is? This issue invites proposals that challenge or contribute to the histories or aesthetics of theatre technology and explore that which is specifically hidden or beneath the politics of space and body on the contemporary technologized stage.

Topics may include but are not in any way limited to:

The politics of technology in the theatre, of technical bodies or the politics of stage technology itself.
Historical accounts of stage devices and technologies and the intersections between stage technologies and the industry of visuality and spectacle.
Scenography and scenographic analyses of contemporary or historical theatrical or performative devices or spectacle.
Technologies of representation (of Hell or the Underworld) advanced through costume, make-up and stagecraft — for example in Kathakali or Balinese Dance.
Accounts of how new technologies update ancient narratives and how great world theatre traditions embrace technological advances in stage devices, apparatus and the inter-medial to evoke and populate the underworld (or other worlds).
Fresh takes on the aesthetics or poetics of stage machinery or theatre technologies.
The practices of spectacle creation, effect design or technologized staging.
Analysis of site-specific/site-responsive performances that have utilized underground spaces (caves, caverns, cellars, bunkers) to explore a scenography of the underworld.
The absence of stage technology (for example in Butoh) to evoke other worlds of darkness and catastrophic consequences of the technologies of destruction.
Contributions to the field of philosophy of theatre technology.
Schedule:

Proposals: 14 February 2020

First Drafts: June 2020

Final Drafts: September 2020

Publication: November 2020

Format:
Building on the Journal’s emphasis on the intersection of practice and theory, we welcome contributions from technicians, designers, scenographers, artists, poets, musicians, dancers and performance-makers, as well as scholars.

We encourage short articles and provocations. As with other editions of Performance Research, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.

References:

D’Arcy, Geraint (2012) ‘The Yellow Soundan unstageable composition: Technology, modernism and spaces that should-not-be’, Body, Space & Technology12. DOI: http://doi.org/10.16995/bst.57

Howard, Pamela (2009) What Is Scenography?2nd ed., London: Routledge.

Wiles, David (2003) A Short History of Western Performance Space,Cambridge: Cambridge University Press.

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:

Geraint D’Arcy: geraint [point] darcy [arobas] southwales [point] ac [point] uk

Richard Gough: richard [point] gough [arobas] southwales [point] ac [point] uk

General Guidelines for Submissions:

Before submitting a proposal, we encourage you to visit our website (http://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 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.

•••••

Call for Papers: MAB 2020 – Futures Implied
Amsterdam – Utrecht, The Netherlands, 23-27 November 2020

We cordially invite you to submit your contribution to the 2020 Media Architecture Biennale (MAB20) themed #FuturesImplied, that will take place 23 to 27 November 2020 in Amsterdam and Utrecht, The Netherlands.
The Media Architecture Biennale is the world’s premier event on media architecture, urban interaction design, and urban informatics, bringing together world-renowned architects, artists and designers, leading thinkers on urban design, key industry and government representatives, and students. The event offers workshops, symposia, a conference with an academic research track and keynotes by leading thinkers in the field. It closes off with a ceremony in which the biennial Media Architecture Awards will be presented to outstanding works of art, architecture and design. Our aim is to provide an excellent forum for debate and knowledge exchange; to offer a unique opportunity that brings together the best minds and organizations; and to highlight state-of-the-art and experimental research in media architecture.

MAB20  invites papers from academics, students, and industry practitioners that align to the theme Futures Implied and the sub-themes described below. The paper contributions should address current practices, discuss theoretical approaches, or present novel research that explore and further develop our understanding of media architecture through relevant case studies, design processes, and community and industry examples.

—

Important dates

•    Call opens: 1 December 2019
•    Paper submission deadline: 5 April 2020
•    Notification of acceptance: 15 July 2020
•    All revisions due and Camera Ready paper deadline: 20 September 2020

Preparing your submission

The conference invites research presentations from both academia and industry:

•    We invite papers with a minimum of six and a maximum of ten pages in length, in ACM format;
•    The papers should clearly explain the research question addressed, research methods and tasks, findings or results, and contributions of the work. Papers should also provide sufficient background and related work to situate and contextualize the authors’ work within a greater body of research;
•    Submissions should consist of original work not previously published or concurrently under consideration for any other conference, workshop, journal, or other publication with an iSBN, iSSN, or DOI number;
•    Authors must provide a 30-word contribution statement for their paper upon submission; the contribution statement should explain the contribution made by the paper to the Media Architecture community;
•    Papers will be peer-reviewed by multiple members of a program committee consisting of experts in a range of disciplines that shape media architecture;
•    Accepted papers will be published in the ACM Digital Library (approval pending).

Paper submission link: https://easychair.org/cfp/mab20. Submit by 5 April 2020.

—

MAB Theme: Futures Implied

The theme for the Media Architecture Biennale 2020 is Futures Implied. Papers should address one or more of the following issues:

●    The Aesthetics and Poetics of Responsive Urban Spaces: How can media architecture contribute to a sense of place, deepening citizens’ understanding of and attachments to local sites and making them more legible, imaginative, and inclusive?
●    Citizens’ Digital Rights in the Era of Platform Ecologies: How can media architecture articulate public values and allow citizens to govern through digital platforms, rather than be governed by them?
●    Playful & Artistic Civic Engagement: How can media architecture help to enact people-centric interventions through which citizens themselves learn, negotiate, and create innovations through play and games?
●    Restorative Cities: How can media architecture enable societies to regenerate socially, ecologically, and physiologically on multiple levels, from the individual to the city as an entity of systems?
●    More-Than-Human Cities: How can media architecture move beyond its legacy of human-centric design, and foster and embrace the well-being of the natural ecosystem as a whole?

About the Media Architecture Biennale

The Media Architecture Biennale is an initiative of the international Media Architecture Institute (Vienna/Sydney). After editions in Vienna, Aarhus, Sydney and Beijing, it is now organized by the Amsterdam University of Applied Sciences in collaboration with Utrecht University and a number of local partners from governments, cultural institutions, and the creative industries. Close ties to both research and industry are a central element of these events.

MAB20 will take place in Utrecht and Amsterdam, November 23-27, 2020.

An overview of all current and upcoming calls (Workshops, Papers, Demos & Posters, Late Breaking Work, Student Exhibition, Media Architecture Awards) can be found at our website.

www.mab20.org.

More information & Contact

Twitter: @MABiennale.
Facebook: facebook.com/MABiennale.
Website: http://www.mab20.org.

For inspiration, please have a look at the papers from MAB 2016 and MAB 2018:
https://mab16.org/pages/conference.php
https://mab18.org/conference/

Papers Chairs

Glenda Amayo Caldwell, Queensland University of Technology – g [point] caldwell [arobas] qut [point] edu [point] au.
Joel Fredericks, The University of Sydney – joel [point] fredericks [arobas] sydney [point] edu [point] au.

The Media Architecture Biennale 2020 is organized by the Amsterdam University of Applied Sciences in collaboration with Utrecht University.

www.mab20.org.

•••••

Association des groupes en arts visuels francophones

APPEL DE CANDIDATURES INCUBATEUR EN COMMISSARIAT 2e édition ÉTÉ 2020
L’AGAVF lance un appel aux commissaires émergent.e.s pour participer à la 2e édition de l’Incubateur en commissariat à l’été 2020. Cet atelier intensif de commissariat, prenant la forme d’une résidence de deux semaines avec l’accompagnement d’une commissaire-mentore, a comme objectif de soutenir les personnes souhaitant développer des initiatives en commissariat et de stimuler les projets d’expositions ou d’événements visant à mieux faire connaître les œuvres et les artistes visuel.le.s des communautés francophones du Canada.

Trois commissaires émergent.e.s œuvrant sur le territoire où évoluent des centres artistes et galeries membres de l’AGAVF (Atlantique, Ontario, Ouest) bénéficieront de deux semaines de réflexion et de création dans un lieu qui sera déterminé en considérant les propositions soumises. Les participant.e.s auront l’occasion de faire avancer leur projet grâce à divers ateliers de commissariat et d’écriture et à des rencontres régulières avec la commissaire Véronique Leblanc. Ils et elles profiteront de séances de lecture, de recherche et d’écriture individuelles, ainsi que d’échanges collectifs entre participant.e.s, avec des intervenant.e.s invité.e.s et avec des personnes du milieu artistique local. À la lumière de besoins convergents, des activités de professionnalisation seront également offertes. Des visites d’expositions réalisées par des commissaires professionnel.le.s sont également prévues, préalablement à une retraite de travail.

Véronique Leblanc est commissaire indépendante, auteure et chargée de cours en histoire de l’art à l’Université du Québec à Montréal. Parmi ses plus récentes expositions, on retrouve : Les histoires nécessaires (Galerie d’art Louise-et-Reuben-Cohen et Musée acadien de l’Université de Moncton, 2019), Chto Delat? Pratiques performatives de notre temps (Vox, 2018), Richard Ibghy & Marilou Lemmens. La vie mise au travail (Galerie Leonard & Bina Ellen, Montréal, 2016), Polyphonies (Optica, Montréal, 2015) et faire avec (AdMare, Îles-de-la-Madeleine, 2013). Diplômée de la maitrise en étudesdes arts de l’UQAM (2009), elle envisage les projets d’exposition qu’elle initie et les aventures pédagogiques dans lesquelles elle s’implique comme des occasions d’apprentissage partagées. Ses recherches portent actuellement sur l’imaginaire du commun en art actuel à travers un ensemble de pratiques artistiques qui combinent des approches collaboratives et performatives avec des stratégies documentaires.

CANDIDATURES ADMISSIBLES
L’incubateur en commissariat s’adresse aux commissaires émergents des communautés francophones et acadiennes ayant déjà réalisé au moins un projet de commissariat ou présentant un fort intérêt pour la conceptualisation et l’organisation d’exposition, ou encore pour l’écriture sur l’art concernant notamment le travail d’artistes de ces communautés. Des candidatures seront pré-sélectionnées par un comité incluant la commissaire-mentore et trois candidatures seront retenues suite à des entrevues téléphoniques.

DOSSIER DE CANDIDATURE
Le dossier de candidature doit comprendre:
• Une description de votre projet de commissariat ou de votre intérêt de recherche (2 pages) expliquant votre motivation à participer à l’incubateur, en précisant à quelle étape vous en êtes et ce que vous cherchez à accomplir (recherche, développement artistique, écriture, dimension éducative ou communautaire, aspects techniques ou logistiques, etc.).
• Un CV à jour contenant vos coordonnées.
• Une dizaine d’images avec légendes reflétant des projets antérieurs et le projet soumis.
• Des indications sur vos préférences concernant les dates de résidence entre le 1er juin et le
1er septembre 2020.

SÉLECTION DES CANDIDATURES
Date de dépôt : LUNDI 2 MARS 2020
Faites parvenir votre candidature à l’adresse courriel : lleblanc [arobas] agavf [point] ca Lise Leblanc, directrice générale de l’AGAVF
Téléphone : (613) 244-9584
Date de réponse : LUNDI, 30 MARS 2020.

INFORMATIONS PRATIQUES
Les frais de DÉPLACEMENT et de SÉJOUR sont à la charge de l’AGAVF (hébergement et per diem de 50$/jour pour la durée de l’incubateur incluant les déplacements).

FRAIS D’INSCRIPTION : 250 $

•••••

Curator
Cambridge Art Galleries/Idea Exchange

Deadline: February 7

Seeking a dynamic candidate who is experienced in exhibition and collection development, contemporary art, community engagement, and grant writing, to fulfill a key leadership position on the team.

Read more

•••••

revue esse art+opinion

À l’heure où les sociétés doivent composer avec l’imminence des changements climatiques, l’explosion démographique planétaire ou la “singularité” technologique, on voit apparaître dans la littérature et les arts la marque d’un changement de paradigme profond concernant une conception de l’avenir. Se référant aux potentialités performatives du futur, la futurité (traduction du terme anglais “futurity”) s’inscrit dorénavant comme une philosophie de « l’à-venir » offrant de nouvelles avenues théoriques pour penser une suite du monde plus positive hors des schèmes traditionnels de l’utopisme critique.
[…]
Envisager l’art dans sa futurité, c’est […] croire en sa capacité de créer des formes de vie, des modalités de relation novatrices. C’est réinvestir de bonne foi la capacité de l’art de créer de nouveaux mondes, de faire avec les possibles d’une humanité traversée de blessures et de violences, et de se saisir de l’expérience du présent dans l’intention d’en infléchir politiquement et éthiquement la trajectoire.
[…]
Pour souligner la parution du centième numéro de la revue et marquer sa volonté de se projeter vers l’avenir, quel qu’il soit, Esse arts + opinions invite les auteur.e.s et artistes à proposer des textes qui interrogent les enjeux de la futurité à travers ses diverses déclinaisons artistiques (réactivation d’archives, relecture critique et décoloniale de l’art, de ses histoires et de ses objets, pratiques post ou transhumanistes, etc.).
[Appel de textes + Politique éditoriale]

•••••

Qu’est-ce que RAW Académie ?
RAW Académie est un programme résidentiel expérimental pour la recherche et l’étude de la pratique et de la pensée artistique et du commissariat d’exposition. Le programme se déroule à Dakar pendant 7 semaines. Il invite à mener une réflexion dynamique sur la recherche en art, la pratique du commissariat d’exposition et l’écriture critique. Deux sessions distinctes ont lieu chaque année. La session 8 sera dirigée par les écrivains Yemisi Aribisala et Siddhartha Mitter. La session se tiendra du 4 mai au 19 juin 2020.

Détails

•••••

Review Series Call for Papers
CMA Journal // SFU School for Contemporary Arts

The Comparative Media Arts Journal is pleased to invite individuals to submit to an ongoing
call for re-views. Supplementary to CMAs semi-annual themed issues, the review series is a
continuous academic platform that asks scholars, artists, curators, writers, and post-
secondary students of all levels to engage in critical contemplation and reviews of
exhibitions, art events, and
publications.

Reviewed monthly by the managing editors of the CMA board, the submissions must
demonstrate a clear, conceptual, and insightful understanding of their source material. In
addition, all reviewers should author a critical and comparative position of the exhibition,
event, or book that they are reviewing. Exhibitions reviews should carefully consider the
character, practice, and concept of exhibited artists

as well as artworks while also critiquing the curatorial methodologies behind the exhibition.
Do the curatorial intentions as outlined by texts and the structure of the exhibition support
the artistic content? Does

the artistic content support the exhibition/institutions intentions? Is the relationship between
the artworks and curation dynamic and innovative? In what ways are the exhibitions
successful at harbouring conversations, considerations, and possibilities for the future? In
what ways is the exhibition lacking at making an affective and effective experience
for
diverse audiences? Reviews of art events ” which can include exhibition programming
such as artist talks, curatorial tours, workshops, and so on” should summarize the scope of
the event and its intentions while also

analyzing its success as a tool for public engagement and learning. In what ways did the
event succeed in engaging a deeper understanding of a practice, institution, or stream of
thought? As a participant and active member of the audience, how could the event have
been improved to engage a deep and contemplative understanding of its material? In what
ways did the curator or artist administering a talk, tour, or workshop engage an
understanding of their curatorial or artistic process? As a knowledgeable reviewer, what is
your critical opinion of their positions, ideas, and methods?

Similarly, book or article reviews require a developed summary and analysis of the authors
positions and arguments. Who does the publication serve? What kind of researcher would
benefit from engaging

with it? Additionally, publication reviewers should demonstrate a comparative analysis
between the content of the reviewed subject and their own developed research interests.
Using their own knowledge of particular subjects, what sorts of ideas regarded in the publication can be expanded on or are innovative approaches to considering particular concepts?

The content of reviews are not limited to these suggestions. Other formats of creative
practice can be analyzed such as films, concerts, theatre and so on. However, it is
imperative that all reviews demonstrate a position of critique and an understanding of
contemporary curating, artistic practice, or arts programming.

As a platform the review series works to bring awareness to the diverse and creative
happenings in Canadian and international art communities. The review series also provides
an opportunity for individuals to develop and articulate critical points of view in relation to
diverse art practices as an open-access platform for publication.

Accepted reviews can range from 500-1500 words in length. All submissions should follow
the Chicago Manual of Style and utilize in-text citations.

Reviews will be accepted and considered on the last day of each month and published
shortly there after. The next deadline for submissions will be November 30th 2019. Any
review submitted after the deadline will be considered for publication the following month.

Please submit all formatted and properly edited reviews to Mallory Gemmel at
cma_journal [arobas] sfu [point] ca including ATTN REVIEW SERIES in the subject line.

Should your review be accepted for publication the journal will reach out to provide a writers
contract and CMA formatting guidelines. We thank you for your interest and encourage all to
submit work. On occasion, rejected submissions may be considered for publication should
editing suggestions and requirements be met.

•••••

off centre is an online publication dedicated to writing about contemporary art and artists

outside of large metropolitan centres. We believe it is important to provide opportunities for
and highlight the practices of artists, writers, and curators who produce and exhibit in these
regions, challenging the expectation that culture emerges in the centre and works its way
beyond.

off centre is seeking submissions for critical writing about artists, exhibitions and art related
events that take place outside of large Canadian art centres such as Toronto, Vancouver
and Montral.

We are looking for:
– Critical short form reviews (500-1000 words)
– Interviews
– Studio visits with artists

Submissions must include:
– CV (2-3 pages)
– Bio (150- 250 words)
– title of show, venue name, full list of artists (and curators if applicable)
– additional contact info including: email address, website, social media handles
– Short pitch (200 words max) for a piece you are working on or would like to write, along
with a two-page writing sample, demonstrating your style and experience OR
– A completed article or review that has not previously been published (500 ” 1000 words)

Successful applicants must provide images of the exhibition, performance, or event for
reference for the published piece, with photo credit, or access to professional documentation

off centre believes that art writing should be accessible to a broad audience and not feel
exclusionary to those who do not have an academic background. Please write clearly and
provide context / definitions for any specific terminology.

Compile all submission material into a .docx or .pdf file and email your submission to
info [arobas] weareoffcentre [point] com

There is no submission fee

Successful pieces will be published on our website and promoted through our social media
channels. An honorarium will be paid upon publication.

off centre is committed to working with artists, writers, and curators who are considered
emerging, Indigenous, racialized, Queer, working in alternative practices and abilities, from
diverse cultural backgrounds, or otherwise underrepresented.

Please direct all questions to info [arobas] weareoffcentre [point] com