re-title.com artist opportunities

Applications Open for I-Park’s 2021 Site-Responsive Art Residency & Biennale!

Selected projects will receive a three-week residency and $3,500 commission fee.
Application Deadline: January 18, 2021
Application fee: $35

I-Park, East Haddam, CT (U.S.), is pleased to announce that it will be hosting its signature Site-Responsive Art Residency & Biennale in 2021. The three-week residency will run from August 30 to September 20, 2021 and will culminate in a public opening of the Biennale on September 18, 2021. The residency will be devoted exclusively to the 6 – 7 artists/designers invited to create new works for the exhibition.

I-Park views site-responsive art as a multi-disciplinary, multi-sensory field – at its most impactful when the installations are developed and experienced in-situ. Artists/designers from the following creative disciplines are encouraged to apply: visual arts, music composition/sound art, language arts, architecture, new media and landscape/garden/ecological design. For 2021, all works must include a substantial physical installation that will be remain in good condition through the autumn of 2022.

A stipend of $3,500 and travel reimbursement will be paid for each invited project. Food and lodging are provided. If you have questions, contact info@i-park.org, 860-873-2468.

Photo: Senbo Yang, Drifting, 2017. Photo by artist.

2019 Site responsive Art Installation by John Melvin

Links: http://www.i-park.org/2021sracall

General Info: http://www.i-park.org/

 

Vyksa-10000

Call for artists
Vyksa-10000 invites international artists to take a part in a contest for the largest mural in the world.
Deadline: 13 February, 2017

The Vyksa-10000 international contest is organized by the Art-Ovrag festival
in Vyksa, Russia.

The mural painting contest celebrates the 25th anniversary of the United Metallurgical Company (OMK) and the 260th anniversary of the metallurgical plant in Vyksa.

________________________________________

Vyksa city has hosted ART-OVRAG Festival since 2011. Since that time the festival has turned into a large-scale movement transforming the city space. Every year ART-OVRAG welcomes more than 10,000 participants and guests, more citizens get actively involved in the festival development. During these years  around 80 mural paintings and art objects were created on the streets and  gradually transformed the city into an open street art museum.

Vyksa city of Nizhny Novgorod region is a significant industrial hub of Russia. The United Metallurgical Company (OMK), a 260 years old metallurgical plant is situated here. One of the plant buildings will be decorated with the biggest mural painting in the world. The area of the proposed facade is 10.000 square meters.

We are looking forward to receiving applications and sketches from artists, designers and architects who are working with urban art and monumental paintings. The winner will be awarded with 1.000.000 rubles. The mural painting will be listed in the Guinness Book of World Records.

The author of this large-scale painting will be chosen by the members of the expert council and the jury composed of renown artists, art theorists and curators who are long time working with monumental art both in Russia and abroad.

The mission of the contest is to make the art forms of mural and graffiti more popular and highlight them as a contemporary direction of visual arts. The contest also aims to draw attention to the developments of visual arts in public spaces.

The mural painting will be presented at the ART-OVRAG festival
on 16th - 18th of June, 2017.

Application submission deadline 13.02.2017.
You will find the online application form and further information on our website: http://artovrag-fest.ru/enghttp://artovrag-fest.ru/eng


The procedure of the contest

●    The application period
Potential contenders and general public are invited to take part in the Contest. They
can send their applications from 23.11.2016 – 13.02.2017 (18:00 Moscow standard time).

●    The work of the Jury
The Expert Council and the Jury of the Contest will evaluate the applications and announce
the winner. The announcement will take place on 28.02.2017.

●    Implementation of the projects
The winning projects will be produced in the town of Vyksa (Nizhny Novgorod region, Russia) in the period between 15.03.2017 – 10.06.2017.

●    Presentation of the project at the ART OVRAG festival (16 – 18.06.2017)


The expert council of the contest

Sabina Chagina — curator of various street-art projects, one of the managers of the Artmossphere Moscow Street Art Biennale. She is also the co-founder of the Artmossphere Agency that supports and promotes street-art events.

Julia Bychkova — producer and curator of the Archstoyanie landscape-art festival, architect, photographer, deputy-director of the National Center for Contemporary Arts in charge of strategic development.

Anton Kochurkin — curator of the Archstoyanie Land Art Festival, architect, artist, director of the «8 lines» architecture bureau, laureate of various prizes in architecture.


The jury

Yasha Young — director and curator of the Urban Nation street-art museum in Berlin.

Irina Sedykh — the president-chairwoman of the supervisory board of the OMK-Uchastie Charity Fund. She is one of the co-founders and manages of the ART OVRAG festival of the urban culture.

Boris Bernaskoni — architect, the director of the Bernaskoni architecture bureau, the winner of multiple architecture awards, participant of the main program at Venice Architecture Biennale 2016.

Alisa Prudvikova — art historian, curator, director of the Ural branch of ROSIZO-NCCA, commissioner of the Ural Industrial Biennial of Contemporary Art, the chairman of the International Biennial Association.

Andrey Bartenev — artist, creator of numerous installations, exhibitions and performance. He hosts workshops in USA, Great Britain and all over the world. His works are often exhibited in the most significant contemporary- art museums in Russia and abroad.

Dmitry Aske — Muscovite artist working in multiple genres. His works have been exhibited and printed by various institutions working with graffiti, typography, illustration and contemporary art.

Alexey Novoselov — curator, director of the exhibition department at Moscow Museum of Contemporary Art, one of the top-managers in charge of Moscow Biennial of the Young Art, corresponding member of the Russian Academy of Arts.


Sabina Chagina, curator of Vyksa-10000 contest:

“..Street art has escaped out of the limits of American graffiti and Banksy phenomenon acquiring the legacy of Mexican muralism school. The guys who were painting walls illegally have grown up and today they are creating impressive wall-paintings in the streets of world capitals that are approved by city authorities.

In my opinion the art project that has embraced Vyksa opens truly new horizons and sets the trend for monumental painting of world-class in Russia. Vyksa is already famous for its collection of works created by popular street-artists and this ambitious project propels Russian street art to another quality level.”

________________________________________

OMK-Uchastie Charity Fund is the author and organizer of the Festival. The Fund was founded by OMK (United Metallurgical Company) - one of the largest Russian manufacturers for energy, transport and production industries. OMK manufactures pipes of various purposes, rail wheels, rolled stock and automobile leaf springs. OMK consists of seven large metallurgical entities located in two continents. Active social policy and charity are among OMK’s priorities.  

●    Contest Founder: United Metallurgical Company (OMK)
●    Contest Co-Founder: OMK-Uchastie Charity Fund
●    Contest Organizer: 8 Lines Agency involved with projects in architecture, art and urbanism. Having started with exhibitions, at the moment partners of 8 Lines are working at the intersection of architecture and design, art and marketing; they are using not only architecture-and-space tools, but also extensive socio-cultural practices. 8 Lines is an expert in the development of city space and natural areas.
●    Contest Co-Organiser: Artmossphere Creative Agency - an agency promoting street-art in Russia, the author and organizer of Artmossphere Street-Art Biennale that was first hosted in Moscow in 2014.

For any additional information and details regarding accreditation and press-tours please contact:
Alexandra Krolikova - sasha@artmossphere.ru

I-Park 2017 Site-Responsive Art Residency & Biennale

I-Park 2017 Site-Responsive Art Residency & Biennale
Application Deadline: November 1, 2016
Application fee: $35

Application Deadline: November 1, 2016

I-Park, East Haddam, CT (U.S.), is pleased to announce that it will be hosting its sixth international, multi-disciplinary Site-Responsive Art Residency & Biennale. The three-week residency begins on Monday, May 15, 2017 and will culminate in a public exhibition on June 4, 2017.

The residency will be devoted exclusively to the 10 - 12 artists/designers who will be invited to create new works for the exhibition. The term 'site-responsive' is construed broadly to encompass the various aspects of the project site: natural, built, social - and is also sensitive to the various dimensions of time. Artists/designers working in all creative disciplines, including Landscape/Garden/Ecological Design and Architecture, are encouraged to apply. A stipend of between $2,200 and $3,000 will be awarded to each artist or collaborating team, depending on their particular travel circumstances.

Application fee: $35 (U.S.).

Project info: http://www.i-park.org/2017sracall

Contact info: info@i-park.org, 860-873-2468.

 

Call for Entries: Gyeonggi International Ceramic Biennale 2017

Gyeonggi International Ceramic Biennale 2017
Deadline: October 31, 2016
Application fee: None

Call for Artists:

Gyeonggi International Ceramic Biennale 2017 INTERNATIONAL COMPETITION

Eligiblity: Artworks that use clay/ceramics as the main material or subject matter are eligible to be submitted.

Entry Fee: None

Website/ www.kocef.org
E-mail/ GICB2017@gmail.com

Gyeonggi International Ceramic Biennale 2017 (GICB2017) INTERNATIONAL COMPETITION calls for artists from October 4 to 31, 2016 via online (ic.gicb.kr). The Grand Prize Winner will receive a cash prize of KRW 50,000,000 (approx. 43,000.00 USD) and will be invited to solo exhibition during the GICB2019 as well as the grand opening ceremony for the GICB2017.

Korea Ceramic Foundation will be hosting the 9th Gyeonggi International Ceramic Biennale Korea from April 22 (Sat) to May 28 (Sun), 2017 in Icheon, Yeoju and Gwangju.

GICB2017 is now commencing with the announcement of entry requirements for the International Competition, one of the main parts of the GICB. This competition calls for the artworks that mirror the modern trends and point to the future of the ceramic arts. It welcomes such artworks that redefine the essence of ceramics by exploring the spirit, values, forms and techniques of the traditional ceramic art.
Unleash your creativity and imagination at the International Competition, a window to the future of ceramics. GICB2017 will keep going all out for promoting the winners to the world!

More information and application:

www.kocef.org

International Print Biennale - call for entries

International Print Biennale - call for entries
Deadline: 20 June 2016
Application fee: £25

The 2016 Print Awards is now calling for entries.

Enter now: ipbprintawards.artopps.co.uk
Deadline: 20 June 2016

International Print Biennale Print Awards

The 2016 Print Awards are open to all British and international artists working with print in its widest interpretation, from traditional to contemporary print processes, included 2D, 3D, video, installation and site-specific work.

Image credit: International Print Biennale 2014, poster by Parra

The Print Awards are the centrepiece of the International Print Biennale. Created by Northern Print in 2009, the Biennale showcases the broad spectrum of contemporary printmaking across the globe, through an extensive programme of exhibitions, events, activities and an international symposium, held across the North East of England. It is the only event on this scale for printmaking in the UK, and since its inception has established itself as the key event for printmakers in the international arts calendar.

Ellen Heck ‘Trimita As Frida’

The third edition of the Biennale’s Print Awards (2014) welcomed submissions from over 740 artists from 42 different countries. The exhibitions across 25 venues for International Print Biennale attracted over 130,000 visitors.

Barthelemy Toguo ‘Who Is The True Terrorist’ (image courtesy of Gallery Lelong, Paris)

The Selectors

Entries for the 2016 Print Awards will be judged by a distinguished and experienced panel: renowned German artist Christiane Baumgartner; David Cleaton-Roberts, co-Director of Alan Cristea Gallery, London, one of Europe’s leading contemporary commercial galleries with an impressive publishing programme; Swedish-born Sune Nordgren, Founding Director of BALTIC, the Centre for Contemporary Art in Gateshead, England. The exhibition of selected works will be shown as part of the International Print Biennale across three galleries in Newcastle upon Tyne; Northern Print and The University Gallery at Northumbria Newcastle, and Vane. The exhibition opens on 16th September and runs until 30 October 2016. The intention is to show a body of work from each selected artist giving a context to the works in the exhibition.

The three selectors have also chosen one artist each to exhibit their work at this year’s Biennale: these are Italian artist Marina Bindella (chosen by Christiane Baumgartner), UK-based Cornelia Parker OBE RA (chosen by David Cleaton-Roberts), and Danish-born Adam Saks (chosen by Sune Nordgren).

Keith Coventry ‘Junk III’ - 2014 invited artist image courtesy of Paul Stolper

Prizes

The 2016 Print Awards comprise a range of residency, bursary and generous purchase prizes from high-profile institutions renowned within the printmaking world. These include the Bryan Robertson Trust Award (£4000), the Northern Print International Residency Prize, the Paupers Press Residency Prize, the Clifford Chance Purchase Prize, the Printmaking Today Prize and the V&A Print Prize. These opportunities have a major impact on artists and their working practice, not only financially, but also in terms of increased profile, leading to new opportunities to sell, show, and develop their work.

“The entire event – the inclusion in IPB, the acquisition of my portfolio by the V&A, and the invitation from Northern Print to return for a residency – has been a huge stepping stone for my artistic career.” Ellen Heck, 2014 prize-winner.

Jason File at Hatton Gallery, 2014

How to enter:

Artists are asked to submit a current CV, an artist statement and up to 10 images or documentation of their recent work, a series or sequence of works. The entry fee is £25 per artist.

For further details and to apply please visit: ipbprintawards.artopps.co.uk

To see more information about the International Print Biennale programme please visit internationalprintbiennale.org.uk

For inquiries please contact: biennale@northernprint.org.uk

Deadline for Entries: 20 June 2016, 17.00 BST

For more information about the Print Awards please contact project coordinators Parker Harris on:
Tel:  +44 (0)1372 462 190
Email:  ipb@parkerharris.co.uk

OPEN CALL FOR 4th GHETTO BIENNALE 2015

OPEN CALL FOR 4th GHETTO BIENNALE 2015
Deadline : Sunday 5th July BST midnight

Kreyòl, Vodou and the Lakou: forms of resistance

A call for artists and curators (calls in Kreyòl, 官话, Português, لغة العربية, Español, русский, Français, नॉट available soon on the website)

After the Haiti Revolution, the formerly enslaved peasants had three tools for their ‘counter-plantation’ position - the Kreyòl language, the Lakou system and the belief-system and ritual practices of Vodou, a triumvirate of linguistic, territorial and cultural resistance. Laurent Dubois, writing in ‘Haiti: The Aftershocks of History’, notes that, ‘thanks to a remarkably strong and widely shared set of cultural forms – the Kreyòl language, the Vodou religion, and innovative ways of managing land ownership…- they built a society able to resist all forms of subjection that recalled the days of slavery.’  

The language of Kreyòl, which was born in the colonial plantations, began as a basic and rough method of linguistic communication between the culturally and geographically diverse populations of the colony. After the slaves revolt Kreyòl became a language of resistance and retreat from the metropolitan state, which continued to use French as the lingua franca of power and capital.

Vodou is a creolised religion forged by African slaves and their descendants which is comprised of elements from a wide range of diverse religious practices including many African traditions from the Fon, Dahomean, Kongo, Yoruba, and other African ethnic groups; Christianity and of the indigenous Taino Indians who were the original inhabitants of the region. As Dubois comments, ‘As they suffered together through the trauma of plantation life, Africans and creoles developed their own rituals of healing, mourning and worship.’

The Lakou is a sub-altern land management system in the rural provinces of Haiti which refers to clusters of houses around a yard which house extended and multi-generational families, forms of land management and ownership which attempted to resist the return to the plantations and co-operative labour and trade practices. As Dubois wrote, ‘In order to preserve that control, the Lakou system established its own set of customs to regulate land ownership and land transfers. The state had no part in these transactions, which were overseen entirely by community and family institutions.’

Vodou is a contested theme in studies of Caribbean and Haitian art. Current discourse interrogates both auto-exoticism by Haitians, and the ‘othering’ of outsiders. Important concerns include the appropriation of the impoverished peasant or ghetto culture as an essentially neo-colonialist strategy, and the precarious position of Haitian art in general, trapped as it is between the historically marketable ‘naïf’ or ‘primitive’ Vodou-celebrating tendency, and a contemporary desire to take its place on the stage of the international global art world.

We welcome projects that incorporate language, dialogues, place, symbolism and performance or consider global territorial struggles, forms of linguistic refusal and friction, and ritual and esoteric forms of obstruction and intransigence. The Ghetto Biennale invites artists and curators to explore what potentials these radical tools, Kreyòl, Vodou and the Lakou, have to offer to the contemporary world.

The 4th Ghetto Biennale 2015 will take place from the end of November until the middle of December 2015, the exact dates to be confirmed. All works must be made and exhibited in Haiti. Artists and curators will be invited to pass, no less than one, to three weeks in Haiti before presenting their work in the neighbourhood to an audience of local people, Port au Prince neighbourhood communities, arts collectives and arts organisations.  
The deadline for proposal applications is midnight Sunday 5th July BST and our decisions will be made and announced by the end of the third week in July.

Applicants for the 4th Ghetto Biennale 2015 must provide a written synopsis of their project proposal covering conceptual background, methodology, and a production and exhibition strategy for the proposed new work on no more than two sides of A4 including illustrations, and a one page CV, all formatted as pdfs. We will not accept any proposal longer than two sides, no attached images and neither will we accept website links as a proposal component.

Please keep in mind that we are looking for works that will be created during the three-week period in Port au Prince, Haiti. We are not looking for work that is already created. We welcome projects that may require collaboration with local artists and would be able to help connect artists beforehand.

There is no funding for this event and you will be expected to cover the cost of your flight, accommodation and materials. We will supply a reading list, there is a film about the Grand Rue sculptors on-line and we will be more than happy to help (via email) with any research and information needed, both before your application and leading up to the event. Advice can also be given about the practicalities for the production of specific projects and budgeting for the trip. If your work involves intensive interviews we will advise you to budget for your own translator. Artists should be aware that Haiti has only a 50% literacy rate and text heavy projects could be problematic for the local audience. We can help organise all hotel bookings, airport pick-ups and internal transport.

The Ghetto Biennale remains a lens-free event for none-Haitian artists so no video and photography projects will be considered, but there will be a photographer on site to document the projects at the end of the event for anyone needing images for documentation.

‘The Sculptors of Grand Rue' can be viewed at http://vimeo.com/14681755

Find more information about Atis-Rezistans visit www.atis-rezistans.com

Ghetto Biennale website with application information and archives of previous projects
www.ghettobiennale.org

Enquiries, applications & questions contact: Leah Gordon at Leahgordon@aol.com

 

South Bend Museum of Art: Biennial 28

South Bend Museum of Art: Biennial 28
Deadline for entry: April 12, 2015
Application fee: $30
Exhibition Dates: July 5 - September 27, 2015

The South Bend Museum of Art’s all media Biennial 28 will present a diverse look into contemporary artwork in the Midwest and is open to all artists residing in Illinois, Indiana, Iowa, Kentucky, Michigan, Minnesota, Ohio and Wisconsin. The number of exhibiting artists is deliberately limited to allow for the showing of a greater body of work by each artist. This year’s exhibition will be juried by Staci Boris, Chief Curator at Elmhurst Art Museum, Elmhurst, IL. $1,500.00 in prizes will be awarded by the juror and $1,500.00 in purchase awards will be awarded by the South Bend Museum of Art's Collections Committee. A color brochure detailing exhibiting artists will also be produced. There is a $30 entry fee to apply.
 
For full details and to apply securely online, please visit southbendart.submittable.com.

 

16th Media Art Biennale WRO 2015, Poland

May 14–September 2015
Opening events: May 13–17, 2015
Deadline: December 10, 2014

Program is open to various forms of creative artistic expression and communication made using electronic and/or digital media and completed after January 1, 2013

Entry form, conditions, details: http://www.wro2015.wrocenter.pl


WRO 2015: Test Exposure
The aim of the WRO 2015 Biennale is to give exposure to new media art experiments, individual explorations and approaches investigating the potential of art both to affect and to reflect emerging issues in culture.

Artists are invited to submit works that take on the risks of innovation, inquiry and imagination, using original observations, contemporary technologies and procedures in the process of creating inventive forms, interpreting the present and revising the notion of the future (which no longer seems to be a clearly defined project).
 
The WRO 2015 Test Exposure Biennale is a testing ground for creative, unconstrained investigations of art's potential to react to the present and to anticipate future challenges.

The WRO Biennale: about
The WRO Media Art Biennale is the major forum for new media art in Poland, and one of the leading international art events in Central Europe. Since its inception in 1989, WRO has been presenting art forms using new media for artistic expression and communication, exploring current creative territories and building a critical perspective toward emerging issues in culture, art, society and technology.
 
The previous edition of the WRO Biennale—WRO 2013 Pioneering Values Biennale—was held at 18 sites around the city of Wrocław: museums, galleries, art house cinemas, department stores, old factory halls and public space,  where the works of over 200 artists were shown. The exhibitions, concerts, performances, video projections, installations and conferences were attended by more than a thousand accredited guests and over 110,000 visitors. The WRO 2013 Catalog is available both in print and online here.

Artistic director: Piotr Krajewski

WRO Media Art Center Foundation / The WRO Art Center
ul. Widok 7
50-052 Wrocław
Poland

T +0048 71 343 32 40
biennale@wrocenter.pl
http://www.wrocenter.pl

 

 

PARSE Journal seeks contributions for the 1st PARSE Biennial research conference

Call for panels, papers, performances, screenings, and workshops
November 5–6, 2015
Deadline: March 1, 2015

The first Biennial PARSE conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden takes as its point of departure the question of time.

Confirmed keynote speakers are:
Jalal Toufic
Coco Fusco
Bruno Latour
Susan Howe

Time arguably has always been at the center of the research initiatives of the natural sciences, of philosophy and of the many different practices of history and social criticism. However, time also occupies a central place for the curiosity and attention of artist researchers across all the arts. The intensification of the question of time has, in recent years, prompted some to speak of a "temporal turn" across the disciplines. This conference seeks to bring together a range of researchers, drawn mainly from the artistic fields but also inviting researchers from across all disciplines to consider questions with respect to the practices, processes and perturbations of time.

Possible topics include, but are not limited to:
constructions of contemporaneity; time and the aesthetic; time and affect; gendered time; queer times; chronophobia; chronopolitics; chronotopes; durational practices; public time; network time; the temporal regime of the gift; globalization, instantaneity and temporal collapse; the nostalgia of capital; the temporal imaginaries of sustainability and ecological practices; the time of the political; labour time and forms of life; the time of the poem; after narrative time; empire time; revolutionary time
dead-time, end-time, out-of-time, behind-the-times and again next time…

Contributions are invited in the form of papers, presentations, artistic interventions, readings, panels, performances, public actions, screenings and workshops.

We are especially interested in contributions that critically reflect upon, and/or in some way work to modify the familiar conventions of the academic paper, the panel discussion and the artist's talk.
 
 
Rolling submission of proposals
The deadline for proposals is March 1, however, we recommend early submission.
Proposals should be sent to parse@konst.gu.se.
 
Please include:
– an abstract/summary description of the proposed contribution (300 words)
– a recent CV of participant(s)
– an indication of technical or other requirements for the contribution/presentation.
 
Note: For performances, screenings or workshop events it is especially important to have a clear sense of any technical or spatial requirements.
 
Suggested duration for contributions
– Artists' presentations, papers and readings: 20 minutes. (We are aware that some artists' presentations could require more time. Please indicate if this is the case).
– Panels: 60 to 90 minutes (depending on number of contributors and nature of panel presentations.)
– For artistic interventions, performances, public actions and screenings, please indicate the duration proposed suggestion.
 

Peer review process
Proposals will be peer-reviewed by a panel that includes The PARSE advisory & Journal editorial boards, and the PARSE working group. Each proposal will be reviewed by three members drawn from the panel with reference to relevance to the overarching thematics of time, potential in developing a dialogue across the disciplines, and originality of contribution.
 
 
Conference documentation
All contributions will be recorded for archive purposes.
 
Conference publication
A selection of contributions will be further developed for publication through the PARSE Journal in consultation with, and by permission of, the authors.
 

For more information, please visit our website: http://www.parsejournal.com

 

CURRENTS 2015: 6th Santa Fe International New Media Festival

CURRENTS 2015: 6th Santa Fe International New Media Festival
Deadline: December 01 2014
Application fee: One Submission = $20 - Two or More Submissions in one or multiple categories = $15 (USD) for each submission

CURRENTS is an annual, citywide event. The Festival brings together the work of established and emerging New Media artists, from New Mexico, the US and the world, for events showcasing interactive and fine art video installations, multimedia performances, single channel video, animation, digital dome programs, experimental documentary and web based/app art forms. This year we have added architectural mapping, the oculus rift, robotics and 3D printing to our call for entries.


Submission Categories include: New Media Installations, Outdoor Architectural Mapping and New Media Installations, Single Channel Video and Animation, Multimedia Performance, Digital Dome, Experimental or Interactive Documentary, Web-Art/Art-Gaming/Mobile Device Apps, Oculus Rift, Robotics and 3D Printing

Artists’ Submissions for Currents 2015 are now open
http://currentsnewmedia.org/submission-guidelines/


Read On
http://currentsnewmedia.org/festivals/currents-2015/