re-title.com artist opportunities

Online Drawing Development Year

Through the Looking Glass

Online Workshop on Self-portraiture with Silvia Gentili
Deadline 21st June 2023
Application fee: €180

A 6 sessions online workshop on self-portraiture.

A workshop focusing on the body as space, movement, dance, sound and text. It will look at the evolution of the use of the body and self-portraiture in visual arts and performance practice.

In ITALIAN every TUESDAY from 9 MAY to 13 JUNE 2023, 7 pm - 9.30 pm

In ENGLISH every THURSDAY from 22 JUNE to 27 JULY 2023, 7 pm - 9.30 pm

Self-portraiture is self-representation. It allows communicating with one's own inner image, which is the base for self-knowledge and personal memory. Self-portraiture also means storytelling and allows to talk about one's own inner and external world.

The workshop focuses on visual arts as a way of seeing and being seen through the body and the different forms that corporeality can have. Participants will develop a method through research, focus on goals, technical and aesthetic choices that will allow making a project based on self-portraiture.

Info & booking: [email protected]

Link: https://www.silviagentili.com/through-the-looking-glass

 

UNIDEE Residency Modules Spring & Summer 2023: NEITHER ON LAND NOR AT SEA

OPEN CALL – UNIDEE Residency Modules:
NEITHER ON LAND NOR AT SEA
Spring & Summer 2023

UNIDEE Residency Programs and Cittadellarte-Fondazione Pistoletto are pleased to announce an open call for participation in the first two seasons of residency modules in the programme Neither on Land not at Sea. Meeting by the Mediterranean Im/Possible, curated by UNIDEE Visiting Curator Chiara Cartuccia.

Neither on Land nor at Sea invites to meander around unreducible complications and on shifting grounds, to explore together ways in which geography is historically, socially, and politically produced. The project pluralises Mediterranean concepts/spaces as sites of
worldmaking and experimentation in communal living. To do so, it adopts un-grounded geographies and colliding historicities as meeting places, in which to congregate to elaborate on the role played by situated practices and shared processes in the promotion of social transformations, towards epistemic justice.

The UNIDEE modules are programme-based week-long residency formats. Participating residents will be offered the opportunity to expand on their ongoing research and practice exploring Mediterranean complexities and geographical thinking in the arts and beyond,
within a group of peers and invited guests. The Spring & Summer modules are curated by UNIDEE Visiting Curator with invited mentors: interdisciplinary artist and filmmaker Noor Abed, critical spatial practitioners FRAUD (Audrey Samson & Francisco Gallardo), and artist, researcher and educator Alessandra Ferrini.

For more information about the context and scopes of the project, please read the full curatorial framework here.

. Programme
The first leg of the Neither on Land nor at Sea residency modules is articulated in two seasons, a Spring Season, taking place in May, and a Summer Season, taking place in June.
The exact dates of the modules are as follows:
Spring Season
-Module I: 13-19 May
Summer Season
-Module II: 5-11 June
-Module III: 10-16 June
Invited mentors in each module are: Noor Abed (Spring Season, Module I), FRAUD (Summer Season, Module II) and Alessandra Ferrini (Summer Season, Module III).
More guests in each module will be announced soon.

The programme of each module will employ different working formats that foster collaboration and exchange, including workshops, reading sessions, talks, screenings, collective interventions and exercise (indoors and outdoors), one-on-one mentoring, according to the specific approach proposed by each mentor and to the needs of the group.
Neither on Land nor at Sea is curatorially conceived as an organic project, which articulates across the single residency modules and an accompanying public programme over the duration of a biennium. The modules are interlinked, and each contributes to shaping the
discourse developed by the project as a whole. Residents will be asked to leave a ‘trace’ of their participation behind. This can take different forms –from a commented bibliographic reference to a visual fragment, in video, photo, drawing etc., a sound recording, a written note, or a shared toolkit. The material thus collected will be made accessible to future and past residents, both in the physical spaces of UNIDEE and online, through the Neither of Land nor at Sea digital platform.
The residency programme’s working language is English.

. Participants
We aim to invite a group of up to 8 residents to take part in each module. The programme is open to international participants of all backgrounds, whose practice sits anywhere across the broad spectrum of visual practice and research, with no restriction regarding disciplines, media or methodologies of work. Applications from artists, curators, writers, theorists, activists, all are welcome and encouraged.
The selection of participants will be based on the affinity of the subject matters, concerns and questions participating in the applicant’s work with those expressed by the curatorial framework of the project, as well as on the applicant interest and ability to contribute to a
programme-based residency whose working is grounded in processes of active exchange and participation.

. Practicalities
The residency modules will take place at Cittadellarte - Fondazione Pistoletto, in Biella, Italy.
The UNIDEE and Cittadellarte spaces will host a large part of the programme, while further opportunities for exploring the urban and rural landscape of Biella and its immediate surroundings will be offered.
Participants will be accommodated within the premises of Cittadellarte, in single rooms with the use of shared bathrooms. The residential spaces offer basic cooking facilities and communal resting areas.
Participants arrival is expected by the afternoon of the day prior to the beginning of the module, departure is expected by the afternoon of the day following the end of the module.
We are committed to meeting to the best of our ability any accessibility requirements an attendee may have; this will be discussed individually with prospective residents.

. Expenses & Bursaries
Participation in the Spring & Summer modules is offered free of charge, and the residents will be provided with free accommodation at Cittadellarte.
Residents will be required to arrange and cover expenses for their travel to/from Biella and for the food/living costs whilst in Cittadellarte.
A limited number of partial and full bursaries –including a contribution towards travel costs– are made available to those who would not otherwise be able to participate; please remember to state in your application whether you would like to be considered for this.

. How to Apply
To apply you need to submit the following documents:
- the filled out application form
- a single document containing a 1) detailed CV (2-page limit) and 2) a portfolio including up to three recent projects (in PDF format, max 6MB)
Each applicant is requested to express a first and a second choice as for the module they would like to participate in.

The application material must be submitted via email at [email protected] , with the  subject line “UNIDEE Modules Spring/Summer 2023 Application (your name)”.

Deadline for submissions is 12 April 2023, 12pm (CET)
All applicants will be informed about the result of their application by 18 April 2023.

. Partners
UNIDEE patrons are Regione Piemonte, Compagnia di San Paolo, CRT Fondazione Cassa di  isparmio di Torino, illycaffè S.p.A., Fondazione Zegna, Creative Europe.
UNIDEE AIR partner are A.M. Qattan, Institut Français Italy, Inlaks Shivdasani Foundation.

 

Publishing as artistic practice

– online course by Marysia Lewandowska for the School for Curatorial Studies Venice.
14 –30 March 2023
Dead line for applying: March 4, 2023

www.corsocuratori.com
www.curatorialstudiesveniceonline.com/

The digital age has shown us how easily knowledge and information are now able to flow and circulate. It has rendered equally visible how hard it is especially for artists to challenge the dominant online presence with their commitment to printed matter and publishing. This workshop will engage with publications arguing for their role in creating a wider public. We will be discussing contemporary conditions of production, circulation, and distribution which insist on including questions of ownership, usership and belonging as concerns integral to the artistic practice itself. My experience with publishing lies at the intersection of art, intellectual property, and open culture involving alternative economies & digital ecologies, the commons, media & collectivity – all contributing to creating a sustainable public realm.

We will be focussing on expanding an ethics of curatorial practice, with a particular emphasis on alternative modes of research and indigenous knowledge. We might begin by asking questions like: What is the relationship between ethics, research, publishing and the
institutionalised practices of curating? Can the institution exert moral agency? How does this change the way we practice as artists, curators and researchers and by extension shapes how we speak, read, write?
Through a series of interactive lectures hold by Marysia Lewwandowska, students will be able to turn to an alternative conception of publishing within artistic practices as the centre of this discussion, one which prioritises not information or formal knowledges but is
embedded in the communal. We will enquire about forms of coming together through publishing not predetermined by outcomes but by a shared process of enquiry and a set of diverse interests.

STRUCTURE: The course is taught remotely and divided into 6 units. Online Study Lectures effectively run over the week – Tuesday and Thursday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.

Session 1. 14 March 2023
Archival knowledge as public awakening.

Session 2. 16 March 2023
Exhibiting Art History. Aby Warburg - Mnemosyne Atlas.

Session 3. 21 March 2023
Artists/Publishers.

Session 4. 23 March 2023
Distributed practices. Forms of ownership.

Session 5. 28March 2023
Online Viral Networks.

Session 6. 14 March 2023
Publication as Activism.

TEACHING: The remote learning experience includes lectures, seminar participation and discussions. The course provides unique opportunities for direct student engagement with arts professionals, as well an extensive array of discussion forums. The teaching is intensive and supportive, with an emphasis on individual learning, and on developing a broad range of knowledge and understanding related to curating and its ethics.

FACULTY: The lectures will be hold by Marysia Lewandowska. She is a Polish-born artist based in London since 1985. She has been exploring the public functions of archives, museums and exhibitions often resulting in conceptually driven projects and films involving
the property of others. These works propose new relations between forms of knowledge and ownership, activating reflections on the social and immaterial public realm. In 2009 she has established the Women’s Audio Archive followed by a publication Undoing Property? co-edited with Laurel Ptak in 2013. Her work has been presented by Tate Modern, Moderna Museet, Muzeum Sztuki, Whitechapel Gallery. The latest installation It’s About Time occupied the Pavilion of Applied Arts at the 58 th Art Biennale in Venice. The Museum of Modern Art in Warsaw has recently included the Enthusiasts Archive project in their collection. She is currently collaborating with Kunsthalle Baden Baden on re-thinking institutional practices for the post-pandemic times.www.marysialewandowska.com

THE FEE: The fee per course is 590 euro. In case you choose to take part to more than one course, a discount of 100 euro will be applied to the fee of the next courses.

School for Curatorial Studies Venice
Xac / Corso in pratiche curatoriali e arti contemporanee
San Marco 3073
Venice 30124
www.corsocuratori.com
[email protected]
Tel: +393477122456

 

Open Call: Summer School for Land and Environmental Art

Alps Art Academy
(Deadline) April 24, 2022
(Application fee) no application fee

Badel/Sarbach, Animal Remains, 2018.

Application deadline: April 24, 2022
Academy dates: August 25–September 3, 2022

Alps Art Academy
The fourth international Alps Art Academy will take place between August 25–September 3, 2022, in the Safiental (Grisons, Switzerland). Located in Tenna, 1650 metres above sea level, the summer school focuses on Land and Environmental Art. In a dialogue with the canonical Land Art of the 1960s–70s, the Academy focuses on contemporary approaches to Land and Environmental Art by bringing them into a relationship with the Alpine landscape. We wish to create a platform of potentialities for contemporary and future Land and Environmental Art, which integrates not only the natural landscape and the environment but also other media and the wider social and cultural context.

We encourage proposal submissions from artists working with landscape and the environment across genres and media, as well as from theoreticians, facilitators and curators engaged in research on the topic of Land and Environmental Art. We welcome applications accompanied by a concrete concept that can be realised during the period of the summer school. The concepts should reflect the 2022 Alps Art Academy theme Learning from the Earth. It is an invitation to rethink our relationship with the Earth. It is a call to action and a question about how we can artistically and scientifically create a more ecological and just future. The Academy is both a school about change and a catalyst for change.

Program
Gathering circa twenty participants over a period of ten days, the Academy offers a rich program of workshops, seminars, field trips, artist talks and presentations, as well as a thematic symposium. Participants have the opportunity to explore what it means to create in, and interact with, the Alpine landscape and apply their experience in their work. Participants work together with local and international instructors who offer practical and theoretical mentoring. The Academy is linked to the ILEA Institute for Land and Environmental Art and the outdoor biennale ART SAFIENTAL (July 2–October 23, 2022) during which the final projects of the academy will be presented.

Instructors
Main Faculty: Badel/Sarbach (CH), Laura Bodenmann (CH), Gerber/Bardill (CH), Fabian Gutscher (CH), Hanna Hölling (CH/UK), Kaspar König (CH), Sascha Skraban (CH).
Guest faculty: Othmar Arnold (CH), Mirja Busch (D), Johannes M. Hedinger (CH), Michèle Hürlimann (CH), Marcus Maeder (CH), Dharmendra Prasad (India), Shazeb Shaikh (India) amongst others.

Registration/information
The conditions of participation, application form and further information can be obtained here.

Fees
1,400 CHF, 1,450 USD, 1,350 EUR. The fee covers ten days of participation in the academy, accommodation in a single bedroom, board and excursions: Travel expenses to and from the Academy are not included and have to be borne by the participants. For participants in need of financial support there is the possibility to apply for funding.

Funding
The academy is committed to a diverse group of participants (age, gender, origin, underrepresented groups). Lower-income applicants may apply for a stipend. To qualify for funding, applicants should provide a justification letter in addition to the regular application form.

Deadline
The deadline for submissions is Sunday, April 24, 2022.

Organization
Sponsorship: Naturpark Beverin / The Municipality of Safiental;
ILEA Institute for Land and Environmental Art; Director: Johannes M. Hedinger.

Related events

Biennial Art Safiental: Learning from the earth
July 2–October 23, 2022, Safiental, Switzerland.

Artists: Lara Almarcegui, Badel/Sarbach, Ursula Biemann, Julius von Bismarck, Com&Com, Valentina Demicheli, Saskia Edens, Lithic Alliance, Marcus Maeder, !Mediengruppe Bitnik, Dharmendra Prasad, Simon/Odermatt, Steiner/Lenzlinger, Ben Vautier. Curated by Johannes M. Hedinger.

Symposium ILEA Talks: Learning from the earth
August 27–August 28, 2022, Tenna, Switzerland and live stream.

Speakers: Ursula Biemann, Annemarie Bucher, Damian Christinger, Johannes Hedinger, Hanna Hölling, Catherine Hug, Marcus Maeder, Naturpark Beverin, Dharmendra Prasad, Boris Previšic, Re Source ZHDK, Shazeb Shaik amongst others.

Alps Art Academy
c/o Naturpark Beverin
Hauptstrasse 35
CH - 7104 Versam
Switzerland
T +41 81 630 60 16
[email protected]

Website: www.alpsartacademy.ch
Facebook: https://www.facebook.com/alpsartacademy/
Instagram: https://www.instagram.com/land_and_environmental_art/

 

MASS SCULPTURE ART SCHOOL APPLICATIONS 2021/22 ARE NOW OPEN

Image: Mark Fischer, MASS Correspondence Course Sculptor 2020-21

We are delighted to announce applications are now open for our inaugural Studio and Off-Site MASS mentoring programmes for sculpture and our second year of the MASS Correspondence Course.

'Following on from the successes and contributions of Turps Painting Magazine and mentoring programmes we are delighted to launch MASS Sculpture Magazine and MASS Art School. Responding in part from requests from artists for a publication that reflects and investigates sculpture in a similar way to the discipline-specific nature of Turps Painting Magazine, and in part following on from the exploration of sculpture within my own practice, this is an inevitable development for both our publishing ambitions and mentoring led programmes. We continue to challenge the one size fits all, inch deep, mile-wide approach to art education that has developed over recent years largely for the benefit of the institution and has blunted the art school experience for both mentors and participants alike. I look forward to peer-to-peer critically supportive mentoring and engagement and a return to thinking with our thumbs.'

- Marcus Harvey , 2021

Mass Correspondence Course is an innovative distance-learning programme of online mentoring facilitated through critical, supportive written reviews by a dedicated mentor. The course is aimed at sculptors based anywhere in the world and at any stage in their career who want to develop or reinvigorate their work, whether recently graduated from art school or those without any formal arts education. Find out more.
Fees for 2021/22 are £1,750
Application Deadline: 30th August 2021

MASS Off-Site Programme is an exciting new mentoring opportunity for London based sculptors who want to develop their practice through the same successful ethos employed by Turps Mentoring Programmes and wish to remain working in their own studio. MASS Mentors visit sculptors in their own studios for one-to-one tutorials, and participants develop a supportive network of peers across London, through group studio visits to each other’s studios, reviews, and seminars based at MASS Hub at Thames-Side Studios, and attending MASS artist talks. The Off-Site Programme will run in tandem with the Studio Programme. Find out more.
Fees for 2021/22 are £2,250
Application Deadline: 10th September

MASS Studio Programme will be launching in October 2021 at our new MASS Hub at Thames-Side Studios. Our new home for MASS will be in the heart of the largest single-site community of artists and creatives in London. Working in collaboration with the London Sculpture Workshop we will offer a number of on-site studio spaces and a flexible exhibition and talks space to enable us to build a sustainable community of peers and mentors. The Studio Programme will be run in tandem with the Off-Site Programme. Find out more.
Fees for 2021/22 are £6,500
Application Deadline: 10th September

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The Core Programme will be led jointly by Nicky Hirst and Ian Dawson. The Core mentoring team will include mentors on the Correspondence Course and contributors to MASS Magazine (see website for more details) and supplemented with a vibrant programme of visiting artists and speakers across the year.

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‘Taking part in Mass CC so far... the conversation that happens via my statements sent to and reviews received from the mentor (Ana Genoves) has been an interesting process and I think it definitely creates more room for thinking in depth about the work and where I want to take it. The reviews have encouraged me to embrace complexity, paradox and taking a bit more time to see how things turn out. The correspondence becomes a place for uncertainties and exploring links with other art and writing. I have enjoyed the privacy of the correspondence process and also that the mentor’s response to the work can ask questions, challenge and be technical as well as supportive. I have found the reviews to have a rigour and attention to detail which I have not had to the same extent, if ever, in another educational context. The fact that it is written down may be part of this so there is more time to digest things.’
Michael Fischer, MASS CC 2020/21

'Applying to the new MASS Correspondence Course was a great decision for me; I was so happy to have been accepted. The mentor's reviews have depth and really get me to think about where to take my practice next although it is still early into the course. As someone who responds to deadlines, the course is really good at giving me structure. It has also been a great opportunity to connect with other Artists too.'
Carolyn Whittaker MASS CC 2020/21

Orbiting the Liverpool Biennial: Sample Practice PhD and Praxis Clinic Sessions with Transart Institute

Transart Institute
Call for Low-Residency Practice PhD Applications until June 15
Invitation to Sample PhD and Praxis Clinic Sessions
Orbiting the Liverpool Biennial Talks, May 28

Images by Aleks Slota

Sample this month's translocal weekend events for Transart Practice PhD creative researchers. Stick around for a Praxis Clinic session, meet Transart advisors and alumni to discuss your practice, get solid, actionable feedback that will help you to take your creativity to the next level, find out if there is a Transart program to help support your goals.

Join us for two talks and a Q&A as part of May's monthly weekend session Orbiting the Liverpool Biennial:

The Stomach and the Port: May 28, 5–6 pm UTC
By Liverpool Biennale Curator Manuela Moscoso
The title, “The Stomach and the Port” reflects on systems of exchange, how borders are not only geographic but also political and subjective constructs, the outcome of a historical process of division begun in the modern, colonial world. The biennial resists this order, reminding us that our lives are intertwined with one another.

Manuela Moscoso will be presenting the work behind assembling the Liverpool Biennial 2021 which will unfold her perspective on curating, exhibition-making, and producing in motion with artistic practices. Manuela Moscoso is a curator, researcher, and critical producer devising and delivering exhibitions, public programs, and publications, independently or for organizations in Europe and Latin America, for example as Senior Curator at Museo Tamayo (Mexico City) or co-director of CAPACETE (Rio de Janeiro); and currently as curator at the 2021 Liverpool Biennial (UK).

The Next Biennial Should be Curated by a Machine: May 28, 4–5 pm UTC
Curatorial Practice at the Intersection of Academic Research and Public Display
By curator Joasia Krysa

In her talk, Joasia Krysa will discuss her curatorial work and interests that underpin it: her interest in technology, and curatorial practice as research and form of knowledge. She discusses her work leading the Exhibition Research Lab, an experimental research environment, and a public exhibitions venue at Liverpool School of Art and Design and she will also introduce her recent projects developed in the context of the Liverpool Biennial.

Joasia Krysa is a curator working at the intersection of art and technology. Her first curatorial software experiment was launched at Tate Modern in 2005 and published in Curating Immateriality (2006). She is Professor of Exhibition Research and Head of Art and Design at Liverpool John Moores University, with an adjunct position at the Liverpool Biennial. Formerly, she served as Artistic Director of Kunsthal Aarhus, Denmark, part of the curatorial team for Documenta 13, and co-curator of Liverpool Biennial 2016 and Sapporo International Art Triennale (SIAF) 2020/21. She is an international advisor for Helsinki Biennial 2021.

About Transart

Transart Institute is a space for experimentation and thinking in any form, for sharing and connecting, and offering practice-based doctoral studies in a low-residency model. We champion self-directed, curious, flexible, and independent-minded creative researchers working solo and/or collectively.

Our border-free platform attracts an eclectic international body of students and advisors from equally diverse artistic and academic contexts and geographic locations as part of a global, transdisciplinary research community; creating opportunities to expand, enhance and sustain individual and collective practices in the world, beyond the walls of the academy.

We support research on themes in all creative genres including art and social technologies; curatorial practices; cultural engagement through food; docufiction and creative writing; ecology and environmental activism; expanded studio practices; experimental pedagogies; fashion and textiles; foreignness, otherness; home, nostalgia and the uncanny; international diaspora and exiled states; language and image; liminal states, interstices, and spacetime; media and design; memory, forgetting, trauma and the archive; movement, dance, choreography; new materialism, object-oriented ontology; olfactory arts; peace, mediation, and performative activism; post-nationalism, post-genderism, post-colonialism; publishing as an art practice; robotics; sound, music, composing; space and temporary architecture.

Participate
Participate in international residencies, retreats, and pop-up events, attend monthly translocal monthly weekend intensive sessions and work independently with dedicated advisors and peer groups. Earn a practice PhD, one-year MFA, both or develop and enhance your independent creative praxis through the Academy alongside other international advanced practitioners. Become part of an intimate international community.

Sign up for the Praxis Clinic here.
Check out our monthly Translocal Intensives and public talks.
Find our Creative Research Practice PhD program here.
Apply to one of our programs here.

Transart Institute for Creative Research
Rolling admissions, space permitting, until June 15, 2021, for the September start date. Ten places are available. We keep a waiting list.
Scholarships: 50% diversity scholarships are available for all non-credit Academy courses. 1-year MFA start date to be announced in May.

Transart Institute
[email protected]
www.transartinstitute.org
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TURPS CORRESPONDENCE COURSE 2021/22

APPLICATIONS NOW OPEN

Tim Millen (Turps Correspondence Course 2020/21)

Applications are now open for the Turps Correspondence Course 2021/22

‘Imagine you are in a very, very remote place and post takes a couple of months to arrive. Or you are above the arctic circle! You send images to an esteemed colleague and await a response. The response comes months later. You are unable to ask questions of what you just read because it's a letter, no Internet, no phones. What then happens is that you slow right down, you listen to and digest every last drop of sense in that letter. You sniff it, you sleep with it under your pillow and you constantly re-read it until you suck every last ounce of anything useful from it. You then make work and any accompanying comments that are posted off with your next work upload will be very deeply thought about. That's it, period! Babbling, garbling impatient 'I must know now' hysteria has ruined people's ability to absorb and reflect. In doing this course you have enabled a slightly different process to take place. You learn from what you already know. The mentor is a guide. You do the work. It works! Read, reflect then make!’
Marcus Harvey, Director & Co-Founder of Turps

Turps Correspondence Course is an innovative programme of online mentoring facilitated through critical, supportive written reviews delivered by a dedicated mentor. The course is aimed at painters who want to develop or reinvigorate their work, whether recently graduated from art school, mid career or those without any formal arts education.

The course is designed and structured to be delivered entirely online so that painters, based anywhere in the world and at any stage in their career, can participate and receive informed, critical feedback from a mentor who is practising painter selected by Turps. There are 5 review points throughout the year when you will be required to upload images of your work and a short statement or ‘letter’ to your mentor. Your mentor will then review what has been uploaded and write their response. It is a very different type of feedback from more conventional face-to-face tutorials but we believe this is what makes the correspondence course such an appealing and sought after professional development course.

Since 2012, it has offered over 560 artists a fresh perspective on their work within the context of current painting discourse. Once enrolled, many painters continue on the programme for 2 or more years, developing close connections with both the mentoring team and their peer network through participant-led initiatives and social media connections.

Turps Correspondence Course painters have gone on to feature in New Contemporaries, John Moores Painting Prize and the Marmite Prize for Painting, and it has also enabled painters to successfully apply for and be accepted onto MA and MFA programmes across the world. Applicants must have a personal email address, access to the Internet and reasonable facilities to document work digitally. For more information, see our FAQ.

Participants will be expected to upload works, drawings, works in progress, sketchbook pages etc. for the duration of the course. It is important this is an ongoing process that best describes their output as this will allow the mentors to track developments and compile their observations at dedicated feedback points.

More information about the course can be found here: https://www.turpsbanana.com/cc-overview

FAQ: https://www.turpsbanana.com/cc-faq

Correspondence Course Fee: £1,750

Correspondence Course Application Deadline: 30th June 2021

Michele Silk (Turps Correspondence Course 2018-21)

HOW TO APPLY

To apply please complete the application form via the Turps website before the deadline: https://www.turpsbanana.com/cc-applications

Applications will be reviewed on a rolling basis.

Turps Art School does not award accredited educational qualifications but offers an opportunity for artists to further their understanding and exploration of painting and re-energize their work through dedicated critical response from practising artists.

Correspondence Course mentors currently include: Adam Hennessey, Andrea Medjesi-Jones, Anne Sassoon, Andrew Grassie, Ansel Krut, Barbara Nicholls, Benjamin Senior, Bernice Donszelmann, Chris Gilvan-Cartwright, Colin Smith, Covadonga Valdes, Damien Meade, Dan Hays, Dan Howard-Birt, Dave Leeson, Emma Biggs, Emma Talbot, Geraldine Swayne, Gig Depio, Hannah Murgatroyd, Henry Ward, Jake Clark, Jane Harris, Jeffrey Dennis, Jennifer Coates, Joanna Kirk, Joe Packer, John Bunker, John Greenwood, Juan Bolivar, Katie Pratt, Katrina Blannin, Kirsten Glass, Kyung Hwa Shon, Luci Eyers, Luke Dowd, Martin Westwood, Matt Lippiatt, Matthew Collings, Michael Szpakowski, Neal Tait, Phillip Allen, Phil King, Raksha Patel, Roisin Fogarty, Sam Windett, Sarah Pickstone, Scott McCracken, Simon Willems, Sofia Silva, Stuart Elliot, Tim Renshaw, Tom McGlynn, Virginia Verran

Angelina Davis (Turps Correspondence Course 2020/21)

‘I applied for the course to re-enter a creative and critical community, to begin a conversation that would assist me in articulating my practice and give me the confidence to discuss my work on my terms. I wanted to connect with a community of painters. My experience of the Turps Correspondence course so far is that it has felt inclusive and generous but full of rigour, intelligence and humour. It couldn’t be more different to my MA back in 1996 which felt like a long and unproductive battle to justify myself as a painter.... Coming onto the course I had no preconceptions. My first review was articulate, intelligent and startlingly accurate in its assessment of both what the work was attempting and where I might focus my attention. It was generous and unexpected, discussing my work at length and in terms that were entirely appropriate to the way that I had made it. I felt that I was being taken seriously, by someone who knew what they were talking about, who understood painting. It has given me a sense of momentum and the second review affirmed the choices that I have begun to make, whilst daring me to be braver and more direct. I hadn't realised how much I had missed the conversations that painting generates with other painters, I had been having those conversations with my own paintings for many years and needed to look up from what I was doing. It has been exactly what I needed. I nearly didn’t apply. I am now planning to continue onto a second year of the programme. ’
Angelina Davis (Turps Correspondence Course 2020/21)

TURPS CORRESPONDENCE COURSE 2020/21

APPLICATIONS NOW OPEN

Nettle Grellier (Turps Correspondence Course 2019/20)

Applications are now open for Turps Art School’s Correspondence Course 2020/21

“Imagine you are in a very, very remote place and post takes a couple of months to arrive. Or you are above the arctic circle! You send images to an esteemed colleague and await response. The response comes months later. You are unable to ask questions of what you just read because it's a letter, no Internet, no phones. What then happens is that you slow right down, you listen to and digest every last drop of sense in that letter. You sniff it, you sleep with it under your pillow and you constantly re-read it until you suck every last ounce of anything useful from it. You then make work and any accompanying comments that are posted off with your next work upload will be very deeply thought about. That's it, period! Babbling, garbling impatient 'I must know now' hysteria has ruined people's ability to absorb and reflect. In doing this course you have enabled a slightly different process to take place. You learn from what you already know. The mentor is a guide. You do the work. It works! Read, reflect then make!”
Marcus Harvey, Director

Turps Correspondence Course is an innovative distance-learning programme of online mentoring facilitated through critical, supportive written reviews by a dedicated mentor.  The course is aimed at painters based anywhere in the world and at any stage in their career who want to develop or reinvigorate their work, whether recently graduated from art school or those without any formal arts education.  

Since 2012, it has offered over 500 artists a fresh perspective on their work within the context of current painting discourse. Once enrolled, many painters will continue on the programme for 2 or more years, developing close connections with both the mentoring team and their peer network through peer-led initiatives and social media connections.

Turps Correspondence Course painters have gone on to feature in New Contemporaries, John Moores Painting Prize and the Marmite Prize for Painting, and it has also enabled painters to successfully apply for and be accepted onto MA and MFA programmes across the world.

More information about the course can be found here:
https://www.turpsbanana.com/ccgeneral

FAQs available here: https://www.turpsbanana.com/ccfaqs

Correspondence Course Fees: £1,750

Correspondence Course Application Deadline: 31st August 2020

Lara Cobden (Turps Correspondence Course 2019/20)

HOW TO APPLY

To apply please complete the application form via the Turps website before the deadline:  https://www.turpsbanana.com/art-school

Applications will be reviewed on a rolling basis.

Turps Art School does not award accredited educational qualifications but offers an opportunity for artists to further their understanding and exploration of painting and re-energize their work through dedicated critical response from practising artists.

Correspondence Course mentors currently include: Marcus Harvey, Phillip Allen, Andrea Medjesi-Jones, Sarah Pickstone, Katrina Blannin, Geraldine Swayne, Benjamin Senior, Neal Tait, Ansel Krut, Katie Pratt, Phil King, Sofia Silva, Emma Talbot, Emma Biggs, Matthew Collings, Luke Dowd, Hannah Murgatroyd, Adam Hennessey, John Greenwood, Jake Clark, Scott McCracken, Andrew Grassie, Barbara Nicholls, Dan Hays, John Bunker, Martin Westwood, Matt Lippiatt, Roisin Fogarty, Stuart Elliot, Tim Renshaw.

Rachel Jeffers (Turps Correspondence Course 2019/20)

“My time in Turps Correspondence Course has been an exercise in learning to trust my own voice. I came to my first review braced to defend the ideas behind the paintings I was making - a dynamic I was accustomed to from previous art school settings. I was surprised when my mentor paid no attention to the ideas I had been prepared to defend. Instead, he talked about the paintings themselves - as paintings - on their own terms. The three-month review/response structure had the effect of turning what might have been my defensive initial reaction into a deeper questioning of myself and the choices I was making. This experience ultimately brought me back to where my heart really is as a painter, taking the focus away from background ideas and giving me a sense of permission to dive in and make work that stemmed from a joyful engagement with the medium itself. The focused dialogue has helped me be more accountable for each choice I make within the paintings. I find that I am producing work that feels more authentic to who I am as a person, and that I am able to grapple with the paintings in a much deeper way than before.”
Rachel Jeffers (Correspondence Course 2019/20)

 

OPEN CALL FOR the FIELD KITCHEN ACADEMY Educational Residency near Berlin, Germany

15 August - 9 September 2020
Deadline: APPLICATION DEADLINE for SCHOLARSHIP and PARTICIPATION: 22 June 2020, 23:59 CET
Application fee: n/a

OPEN CALL FOR the FIELD KITCHEN ACADEMY Educational Residency at WÜSTEN BUCHHOLZ,

1,5 hrs. away from BERLIN, GERMANY

15 August - 9 September 2020
APPLICATION DEADLINE for SCHOLARSHIP and PARTICIPATION: 22 June 2022, 23:59 CET

Open call for an educational residency with:

BILL FONTANA (composer and video artist),
HANS PETER KUHN (sound and visual artist),
SEBASTIAN MULLAERT a.k.a MINILOGUE (producer and DJ),
OVE HOLMQVIST (sound artist),
HANS ROSENSTRÖM (sound artist),
STEFFI WEISMANN (sound artist),
JI WOO & SUN WOO (Zen masters) and
PROF. DR. URSULA KOCH (Neurophysiologist)

Chef in Residence: EMRAH TAŞ

Selection committee: Peter Cusack, Ali M. Demirel, Juliana Hodkinson, Mario Asef and Ece Pazarbaşı.

The FIELD KITCHEN ACADEMY is an interdisciplinary educational residency programme that gathers artists/ creative minds, a resident chef and prominent experts from different fields together around a kitchen table through mind-opening acts and actions.

On its second edition, a total of 11 interdisciplinary residents will be selected to join the upcoming FIELD KITCHEN ACADEMY in its three modules. Curated by Ece Pazarbaşı, this year, under the title of THE CURIOUS LOOP, we will use the notion of loops-in-sound as a gateway to other concepts of repetition, offering a variety of individual and collective experiences. Loops represent a time that is suspended, which is a compressed source of the past, present and the future. The loop also oscillates between the known and the unknown; as for the viewer and listener it could unfold to a future of known (as it repeats the same material over and over again), but also it may relate to an unknown (as surprises are always welcome), and one never knows if the loop will be broken with an unknown sound or visual component - no matter how well defined and repeated the loop has developed in the past. If one cannot step into the same river twice, and if one opens to perception with all senses, what differences can we find in each loop?

Composed of three intertwined modules that allow for different durations in the residency, the program is open to application from all disciplines and all walks of life. The selected residents will have the opportunity of pursuing processes of experimentation, discussion, trial and error, the progression of knowledge, and know-how in working sessions during the first 3 weeks. The last half week will be the ‘simmering’ period where the residents are expected to do NOTHING but only LISTENING.

* for the Covid-19 measures at the Field Kitchen Academy /// The Curious Loop, please visit our website.

** The outcome of the Field Kitchen Academy’s three working sessions will be presented as part of The Curious Loop Public Program. The Public Program is partially supported by Musikfonds and Die Beauftragte der Bundesregierung für Kultur und Medien.

Location: GUTSHAUS WÜSTEN-BUCHHOLZ, Perleberg, Germany / app. 2 hrs. away from Berlin. Selected participants will be announced by 6 July 2020.