Il Saas-Fee Summer Institute of Art di quest’anno, dal titolo “Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism”, è stato organizzato a New York in collaborazione con CTHQ, lo spazio di aggregazione di Creative Time dedicato all’arte e alla politica, e Montez Press Radio, una piattaforma sperimentale di broadcasting e performance.
The post Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism appeared first on Digicult | Digital Art, Design and Culture.
Deadline: 9 giugno 2024
Quando: 28 ottobre – 3 novembre, 2024 (Contemporary Art Week)
Dove: Torino, Share Festival
Link website
L’Associazione The Sharing annuncia la XVI edizione di Share Prize, il concorso dedicato all’arte contemporanea declinata alle tecnologie e alle scienze. Le opere candidate al premio dovranno seguire il tema: ‘ALL-NATURAL’, curato dal direttore artistico di Share Festival Bruce Sterling e della curatrice Jasmina Tešanović.
La Giuria Internazionale del concorso assegnerà un premio di euro 2.500,00* all’opera (edita o inedita) che meglio rappresenta la sperimentazione tra arti e nuove tecnologie.
I candidati al premio (short list di 6 concorrenti) saranno invitati a partecipare alla XVIII edizione di Share Festival. Le sei nomination dei candidati al premio saranno annunciate a Luglio 2024 sul sito web: www.toshareproject.it
Il vincitore sarà annunciato durante l’Opening di Share Festival in programma a Torino
dal 28 ottobre al 3 Novembre 2024, durante la Torino Contemporary Art Week.
L'articolo Call for submissions > Share Prize XVI proviene da Arshake.
FRAME cattura Microscopic Handbag dello studio MSCHF, una versione a forma di granello del modello di borsa OnTheGo tote di Louis Vuitton. La borsa misura 657 x 222 x 700 micrometri, quindi è più piccola di un granello di sale marino.
L'articolo FRAME > Microscopic Handbag proviene da Arshake.
Deadline: 31 May 202
Call foe entries
‘’…&TAROTS&TAROTS&ALWAYS TAROTS…’’
Size: :MAX A4 (21CM X 30CM)
Techgnique: FREE
WORKS WITH VIOLENT, SEXIST, RACIST CONTENT ARE NOT ALLOWED
ONLINE DOCUMENTATION FOR ALL PARTICIPANTS ON THE DEDICATED FACEBOOK PAGE
ALL THE WORKS RECEIVED WILL BE EXHIBITED IN THE BEAUTIFUL ABBEY OF SANTA MARIA DI CORAZZO (CARLOPOLI, CZ -ITALY)
SEND YOUR DRAWINGS, PAINTINGS, VISUAL POETRY… BY MAY 31, 2024 TO:
Claudio Parentela
VIA F.CRISPI 79
88100 Catanzaro
ITALY
Deadline: 13 May 2024
Call for entries
Mail Art – Open Call
SUBMISSION ADDRESS/SEND TO:
ART GALLERY MAGAZZINO BIANCO
VIA MAGENTA 30
71016 SAN SEVERO (FG)
ITALY
MEDIUM: PAPER OR CARDBOARD
REQUIRED DIMENSIONS 10X 15 CM | 100 MM X 150 MM | 3.9 X 5.9 IN
FREE TECHNIQUE.
DESCRIPTION: THE CALL IS OPEN TO PEOPLE FROM ALL OVER THE WORLD.
ALL INTERESTED PEOPLE ARE INVITED TO CREATE POSTCARDS ON THE THEME OF THE FESTA DEL SOCCORSO (FIREWORKS, MARKET STALLS, FEAST, ETC..).
PARTECIPATING ARTISTS WILL RECEIVE E-CATALOGS.
NO FEE, NO JURY, NO SELECTION.
NO SALE.
THE ARTWORK WILL NOT BE RETURNED.
PLEASE WRITE YOUR NAME, EMAIL ADDRESS, CITY/COUNTRY OF RESIDENCE ON THE BACK OF THE POSTCARDS.
INFO INSTAGRAM: SANSEVERO_CULTURA
EMAIL : MATHERS89@HOTMAIL.IT
Event date:
May 18, 2024 to May 21, 2024
Location:
ART GALLERY MAGAZZINO BIANCO VIA MAGENTA 30 71016 SAN SEVERO ITALY
Deadline:
13/May/2024
Nelle giornate del 10 e dell’11 aprile la Rhode Island School of Design (RISD) ospita una conferenza di eccezionale importanza: “Debates in AI”, simposio che approfondisce le molteplici dimensioni dell’intelligenza artificiale (AI) e il suo profondo impatto sulle discipline creative. Questo evento di due giorni svelerà le intricate intersezioni tra arte, design, tecnologia e cultura.
La programmazione prenderà il via l’11 aprile presso la Fleet Library dalle 17.45 alle 19.30 con una conversazione serale tra Kate Crawford (ricercatrice, compositrice, produttrice, accademica e autrice di Atlas of AI) e Ben Davis (critico d’arte nazionale, ArtNet News).
Il 12 aprile, presso il Metcalf Auditorium del Chace Center del RISD, si terrà un simposio della durata di un’intera giornata, con discussioni dalle 9.00 alle 18.00. Tra i partecipanti figurano personalità di spicco come Taeyoon Choi (fondatrice della School for Poetic Computation), Molly Crabapple (artista), Stephanie Dinkins (artista, educatrice), Cory Doctorow (autore di Chokepoint Capitalism e The Internet Con), Elisa Giardina Papa (artista), Brian Merchant (editorialista tecnologico e autore di Blood in the Machine), Trevor Paglen (artista), Christiane Paul (curatrice di arte digitale, Whitney Museum of American Art), Jon Rafman (artista), Dorothy R. Santos (scrittrice, artista, educatrice), Eric Telfort (direttore del dipartimento di Illustrazione del RISD) e Clement Valla (professore associato di Experimental & Foundation Studies, coordinatore della facoltà di Computazione, Tecnologia e Cultura).
“Questo evento è incentrato sul porre domande”, osserva il membro della facoltà Marisa Mazria Katz, produttrice esecutiva del simposio. “Quali sono le questioni etiche in gioco nell’addestramento e nell’uso dei modelli di IA? Come potremmo reimmaginare il copyright e riaffermare il potere collettivo del lavoro creativo? E cosa sono un artista e una formazione artistica nell’era dell’IA?”. Il professor Daniel Lefcourt, co-curatore dell’evento, aggiunge: “Data la rapidità dei recenti sviluppi dell’IA e il profondo impatto che può avere sull’istruzione – e sulla società nel suo complesso – questo è un momento critico per tenere queste conversazioni. Siamo lieti di convocare questi importanti dialoghi al RISD”.
“Mentre le istituzioni e gli esperti di una moltitudine di discipline continuano a indagare sull’intelligenza artificiale, sono lieto che il RISD si stia impegnando in modo così diretto e attivo in questioni che daranno forma agli anni a venire”, osserva il Rettore del RISD Touba Ghadessi. “Dall’esame del significato della paternità umana, sia dal punto di vista creativo che legale, alla dimostrazione della necessità e dell’uso attuale dell’intelligenza artificiale come strumento di progettazione, so che le conversazioni organizzate e guidate dai nostri lungimiranti docenti avranno un impatto duraturo al RISD e oltre”.
Il pubblico è invitato a partecipare a questo evento intellettualmente stimolante che riunisce visionari, leader di pensiero e professionisti all’avanguardia nel dialogo tra AI e discipline creative.
Il sostegno a “Debates in AI” è fornito dalle divisioni di Architettura e Design, Belle Arti, Studi Sperimentali e Fondazioni e Arti Liberali, oltre che dal Centro per la Complessità, dalla Biblioteca Fleet del RISD, dal Centro per le Arti e il Linguaggio e dal Fondo RISD 2050. Il simposio è prodotto dal membro di facoltà Marisa Mazria Katz e co-curato dal professor Daniel Lefcourt, Katz e dal membro di facoltà Marco Roso (cofondatore di DIS.ART).
L'articolo Simposio “Dibattiti sull’intelligenza artificiale” proviene da Arshake.
Deadline: 28 June 2024
Call for entries
POMO V INTERNATIONAL MAIL ART EXHIBITION
EXHIBITION DATE: OCTOBER 01, 2024
EXHIBITION HALL: SELÇUK UNIVERSITY FACULTY OF FINE ARTS EXHIBITION HALL, KONYA / TURKEY
DESCRIPTION: As was done in previous periods, a “Postmodern” themed Postal Art exhibition was organized within the scope of our faculty’s 25th Anniversary events. This exhibition is open to national and international participants and artists interested in mail art.
To exhibit the works of people interested in mail art at home and abroad, to contribute to the development of mail art in our country, and to establish artistic ties between people interested in national and international art. We believe that the works in various styles and techniques to be exhibited will contribute to the technical and thematic art education processes of our students.
ENTRY FEE: NO
CONTACT URL: https://www.mailartexhibition.org
VIDEO POST rilancia What is for Sure, installazione luminosa che esplora il rapporto tra spazio e tempo manipolando il ritmo apparentemente naturale e cronologico della luce.
L'articolo VIDEO POST > What is for sure proviene da Arshake.
Deadline: 5 August 2024
Call for entries
animateC’24 – Cologne Art & Animation Festival (aC24)
@ Alphabet Art Centre Cologne – Autumn 2024
Founded in 2012 by Wilfried Agricola de Cologne in the framework of CologneOFF – the international festival network – operating since 2005 from Cologne/Germany – animateC – Cologne Art & Animation Festival – would like give the animation more attention, relevance and space as a particular artistic expression, thus the focus is directed to non-commercial, experimental artistic representation and concepts in order to bring animation forward to both – art & moving images, as well as contemporary art.
aC24 – would like to demonstrate the diversity of the artistic animation as a global language connecting people from all continents, cultural and social backgrounds.
aC24 – is looking for
– animated art contents in digital video in all its variety within the wide range of different topic
– new and experimental approaches in transforming artistic concepts via animation into the language of the “moving images”
aC24 – is inviting film & video creators – to submit up to 3 works of experimental forms of film and video art – (exclusively) online by using the entry form below.
– deadline: 5 August 2024
– no age limit
– no entry fee
– submissions by film/video from all countries on the globe to be submitted exclusively online
– max 3 works can be submitted for each category film/video
– wanted: single channel videos in mp4 – duration between 1 minute and 15 minutes (exceptions possible on request)
– creations using language and/or text other than English need English subtitles
– The full-length films/videos may be produced between 2020-2024. The submission of extracts is not accepted!!
– The video preview copy – mp4 HD – have to be made available for download via WETRANSFER or from VIMEO or Youtube (link)
– only selected artists will be notified after the deadline and invited to send the HD screening copy of the selected video in best screening quality.
– The New Museum of Networked Art is looking for innovative and experimental approaches in dealing with contents and technology
1.
artist/director
a) full name
b) full address
c) email, URL
d) short bio (max. 100 words, English only)
2. video
a) title English – original (max 3 works)
b) URL home page, (Internet address for download)
c) year of production
d) duration
e) work synopsis (max. 100 words/submission, English only)
f) 2 screenshots for each submitted work (jpg, HD 1920×1080 px)
Please add this declaration & sign it with your full name & email address
\
I, the submitter/author, declare to be the holder of all rights on the submitted work.
In case the work is selected, I give – The New Museum of Networked Art the permission to include the work in the project context online and in physical space for screenings /exhibitions and the use of screenshots for non-commercial promotional purposes free of charge.
//
Please use for each submission a separate entry form
Please use this email address for submitting
artvideokoeln (at) gmail.com
and following subject line “animateC’24”
The New Museum of Networked Art
Alphabet Art Centre
http://alphabet.nmartproject.net
Deadline: 13 September 2024
Call for entries
My 2024 Mail Art Project
The Project & its Background:
I once stepped into the elevator of a thirty-floor building, which had no 13th floor button. Seeing the order jump from 12 to 14, I thought, “This is weird!†Had some designer or engineer made an outrageous mistake? Noticing more cases—on airplanes, for instance—I discovered the practice is widespread. But for one whoâ€
s had a good relationship with 13 right from birth, this makes no sense.*
N°13 is not just synonymous with bad luck. It symbolizes many things. Some even enjoy playing with the numberâ€s reputation by taking a tongue-in-cheek approach. Take Finlandâ€s National Accident Day, for instance, which promotes safety on the roads, at work and in the home. Its annual day of celebration is always Friday the 13th.
Whatâ€s your take on N°13?
Letâ€s share a laugh or a touch of dread. I invite you to put what you feel, think or believe about the number on a postcard and post it by Friday, September the 13th, using this address:
N° 13
Taivaanvuohentie 3 B 13
00200 Helsinki
Finland
Recommendations:
material must be child friendly // common postcard size (10 x 15 cm / 4 x 6 in) preferred //
media: free // no jury, no fee, no return // please include contact info (email)
All works received will be exhibited at https://postboxtomailboxnoplainart.blogspot.com and a
digital publication (catalogue) will postdate the project.
Questions: 4johngayer@gmail.com
*The paradox embodied in this tale is that the ‘dangerous†number hadnâ€t disappeared. Its digits had merely been reversed to identify the highest storey. Imagine, this thirty-floor building had a 31st floor.
Call for entries
deadline : 1 June 2024
Soundart wanted!
The Sound of Anthropocene
While Anthropocene (actually only proposed as a new epoch of geologic time, following the Holocene) is an officially not yet definitely defined period of time during which human activities are thought to have had a significant impact on the global environment, regarded as having begun sometime between twelve thousand years ago, with the spread of agriculture, and two hundred years ago, with the advent of industrialization, as a topic of the media art context of The Anthropocene Project, the term is going far beyond marking the contradictory relationship between (the volatile transitory character of) human nature and (sustainable) nature, the significant human impact on ecosystems, including the human-caused climate change, biodiversity loss etc.
Curated by Wilfried Agricola de Cologne, The New Museum of Networked Art realizing the Sound of Anthropocene Project as a new media art context in an exchange between virtual and physical space, is inviting artists using sonic art as a non-visual medium to submit their soundart pieces dealing with the (positive and negative) human impact.
Please use for each submitted work a separate entry form.
– deadline: 1 June 2024
– no age limit
– no entry fee
– submissions exclusively online
– max 3 works can be submitted
– wanted: soundart in mp3 – duration between 1 minute and 15 minutes (exceptions possible on request)
– The sonic works may be produced between 2010-2024.
– The sound art copy – mp3 – gave to be transferred via WETRANSFER or sortlike transfer services
– only selected artists will be notified
1.
artist/director
a) full name
b) full address
c) email, URL
d) short bio (max. 100 words, English only)
2. sound art work
a) title English – original (max 3 works)
b) URL home page, (Internet address for download)
c) year of production
d) duration
e) work synopsis (max. 100 words/submission, English only)
Please add this declaration & sign it with your full name & email address
\
I, the submitter/author, declare to be the holder of all rights on the submitted work.
In case the work is selected, I give The New Museum of Networked Art the permission to include the work in the project context online and in physical space for exhibitions free of charge.
//
Please use for each submission a separate entry form
Please use this email address for submitting
artvideokoeln (at) gmail.com
and following subject line “The Sound of Anthropocene”
The New Museum of Networked Art
Alphabet Art Centre
http://alphabet.nmartproject.net
Deadline: Feb 10th, 2024
Call for entries
FILE 2024 – Call for Entries
July 3rd to August 25th, 2024
Sao Paulo, Brazil
Registration to participate in FILE – International Electronic Language Festival projects in 2024 is now open. The festival seeks original works of art and educational projects (lectures and workshops) in Art and Technology, by Brazilian and international artists. Registration remains open until February 10th .
FILE is a non-profit cultural organization that has propagated creation and experimentation in Art and Technology through exhibitions, events and publications over 23 years. This call opens up the opportunity to participate in the 23rd. Edition of the International Electronic Language Festival, which is scheduled to take place at the FIESP Cultural Center, in Sao Paulo. The selected projects will also be able to collaborate in parallel events in different states in Brazil.
Using the registration form, it is possible to send proposals for interactive installations, sound art, video art, robotics, animations, CGI videos, virtual realities, augmented realities, mobile art, games, gifs, internet art, lectures and workshops, among others . To participate in the LED SHOW program, exhibited annually at the FIESP Digital Art Gallery, register using the form in accordance with the rules established in the regulations. Sign up!
Access the registration form.
Mo entry fee!
Contact adresses/URL
https://file.org.br/highlight/file-2024-call-for-entries/
Deadline: 29 February 2024, 24h
Call for Entries
Open Call- “Wash my fur, but don’t make me wet”
Climate protection with displacement. Wash my fur, but don’t get me wet.
64th exhibition of GG3 3.5.2024 – 14.6.2024 Berlin
The majority of society wants climate protection, but does not want to change. It becomes nervous, susceptible to fossil lobby campaigns, superstitions and right-wing influences.
People are in favor of doing something about man-made global warming, but they still want to fly on vacation. One denies one’s own fossil addiction. The other countries, the politicians, should take action against the climate crisis. People don’t want to see their own responsibility as voters for political parties and as consumers of flights, cars and goods who cause CO2‚ emissions. Of course, something should change, just not in your own life. Science calls this behavior cognitive dissonance.
The artworks in the gallery and front garden are intended to refer to the generic term “displacement of man-made global warming, outside to the displacement of specific problems of the locations:
1. park path at the Waldemar bridge: Cyclists and scooter riders displace the driving ban in the park
2. park path south of the lake: the greenery on the walls is being damaged for graffiti. The sprayers suppress the importance of the climbing greenery for people.
3rd, 4th sidewalks near the stairs into the park: Litter is dumped or thrown down. The actors suppress the fact that the litter usually disturbs pedestrians and residents.
5th lake: The lake is over-fertilized due to the prohibited feeding of aquatic animals. The feeders suppress the adverse effects on animals, water quality and the plants of the lake.
Plan of the exhibition
6. and 7. works to suppress man-made global warming.
Exhibition in the gallery and front garden: Tuesdays and Fridays 5-8 p.m., on the sidewalk, in the park and on the lake two days each 4-6 p.m.
Deadline 29.2.2024, 24 oâ€clock
In a public call for entries, we invite artists to submit contributions for a group exhibition in our exhibition rooms and outside according to our criteria for the theme described above.
Disciplines: object, sculpture, installation, photo, painting, drawing, printmaking, video with credits, sound is possible. A performative contribution such as a performance, VJ or similar to the vernissage, artist talk or finissage is desired.
We offer exhibition space with equipment, bar, advertising by mail and div. Websites and social media and web and print flyers, organization of the work texts, the lecture, the documentation.
We do not charge a fee for applications, exhibitions etc. We are a free, self-organized project space and work on a voluntary basis.
Works: Only letters and videos from non-EU countries, no parcels. For sent works, we ask that senders include the return postage.
Unfortunately, there is no budget for production, additional technical equipment, transportation and insurance – the room is technically secured. We expect good cooperation and agree on rules of cooperation,
Individual artists or existing artist groups can apply online with max. apply for three works. Works in Park 1-5 must be supervised by the artists.
Attendance for regional artists is desired for vernissage and the artist talk, as well as attendance at a date of the exhibition.
GG3 is showing the exhibition inside the gallery and outside in the front garden, on the sidewalk, in the park and on the lake. GG3 applies for approval from the Mitte district of Berlin.
Click here for the online application form
https://gg3.eu/ausschreibungen/submission.php?call=8&lang=en
Jury Team GG3: Tom Albrecht, Stephan Gross, Maria Korporal, Mina Mohseni,
Curator : Tom Albrecht
Address: Leuschnerdamm 19, D 10999 Berlin
Q and A for calls by GG3
Q: Is there a way to review my submission to confirm it was submitted correctly?
A: This is not necessary if the submission has been accepted and you have received a confirmation email.
Q: Would you recommend submitting only new artwork applications, and if so, will this affect my application?
A: No, it doesn’t matter. The decisive factors are the strong reference to the advertised theme and the artistic quality.
Q: I fail to upload the CV and show list.
A: Only pdf and doc formats are accepted, max. 10 MB. No docx or odt!
Q: Made a mistake, can I correct my application?
A: No problem, we correct for acceptances.
Q: How do I submit multiple works?
A: Close the first application and reopen the form.
Q: Is it possible to send you an application by email?
A: Application by mail is not possible due to the work of the jury.
Climate protection with repression. Wash my fur, but don’t get me wet.
Buschhaus (C) T.A. Exhibition
Bush house (C) T.A.
64th exhibition in Gallery and Park 3.5. – 14.6.2024
Exhibition
in gallery: Tuesdays and Fridays 5-8 p.m., in the park Fri., 24.5., 4-6 p.m. and Fri., 14.6., 4-6 p.m.
The artworks in the gallery and front garden are intended to refer to the generic term “repression of man-made global warming”, outside to the repression of specific problems of the locations in the park.
The majority of society wants climate protection, but does not want to change. It becomes nervous, susceptible to fossil lobby campaigns, superstitions and right-wing influences.
People are in favor of doing something about man-made global warming, but they still want to fly on vacation. You deny your own fossil addiction. The other countries, the politicians, should take action against the climate crisis. People donâ€t want to see their own responsibility as voters for political parties and as consumers of flights, cars and goods who cause COâ‚‚ emissions. Of course, something should change, just not in your own life. Science calls this behavior cognitive dissonance.
Gallery
The works in the gallery and front garden refer to the generic term “repression of man-made global warming”. Locations 6. and 7. in the plan.
Park
Works refer to the displacement of problems in the park. Dates in the park Fri, 5/24, 4-6pm and Fri, 6/14, 4-6pm. Locations:
1st park path at the Waldemar Bridge: Cyclists and scooter riders displace the driving ban in the park.
2. park path south of the lake: the greenery on the walls is being damaged for graffiti. The sprayers suppress the importance of the climbing greenery for people.
3rd, 4th sidewalks near the stairs into the park: Litter is dumped or thrown down. The actors repress fact that the litter usually disturbs pedestrians and residents.
5th lake: The lake is over-fertilized due to the prohibited feeding of aquatic animals. The feeders suppress the adverse effects on animals, water quality and the plants of the lake.
Deadline: 12 February 2024
Call for entries
Open Call
Supergau is an imaginary landscape, a culturally primaeval landscape!
Supergau is temporarily limited and, during the festival, superimposes itself like a second layer over the existing topography of one of each of the five Gaue (regions) of Salzburg (Flachgau, Lungau, Pinzgau, Pongau, Tennengau)
https://www.supergau.org/
What is Supergau?
Supergau is freed from the supposed dominance of the city with its programmed cultural spaces, freed from municipal museums, theatres, cabaret stages, that need to be filled by a target audience. Freed from the concept of the public space because Supergau knows only landscape.
Supergau is surface and depth at the same time. Supergau has forest- and meadowscapes, mountainscapes, housescapes, asphalt- and concretescapes. All these and other landscapes can become a stage at Supergau, an artistic field of action. Supergau is a festival that takes place exclusively outdoors.
The biennial festival celebrated its premiere in Flachgau in 2021 and transformed Lungau into a Supergau for contemporary arts in 2023. The festival will continue in Pinzgau in 2025.
Supergau invites artists to take their time for the festival and therefore enables residencies in advance that offer the opportunity to work on site, conduct research and engage in dialogue. The entire creation process, the development of a Supergau dramaturgy and the joint development of content with the participants is an essential part of the festival. This Open Call marks the beginning of the Supergau, which will culminate in the ten-day festival for contemporary arts in late May/early June 2025.
What are we looking for?
– Artistic contributions outdoors
– Artists from various disciplines who will join us in exploring the question
of what the countryside can do as an art- and as production-space,
what the city cannot do and what new forms of encounter and dialogue
we can create here
– Artists engaged with the questions, problems and potentials of this
region
– Spatial art that can cover entire meadows, forests, lakes, squares or
motorways, for example
– Cross-disciplinary works that enter into collaborations with visitors,
residents, local initiatives or associations
Mixed teams with participants from fields other than art are possible (e.g.
from science, agriculture, health, education, crafts).
1 The province of Salzburg is divided into five political districts and one statutory city, the City of Salzburg. The districts are still commonly referred to as Gaue (as landscape areas). for contemporary arts
Locations
The third edition will transform Pinzgau into a Supergau for contemporary art. With its 2,641sqm, Pinzgau is the largest district in the province of Salzburg. The festival therefore focusses on the region between Krimml and Zell am See. The following towns are located in this area: Wald im Pinzgau, Neukirchen am Großvenediger, Bramberg, Hollersbach, Mittersill, Stuhlfelden, Uttendorf, Niedernsill, Kaprun and Piesendorf.
A connecting element is the Salzach river, which originates in Vorderkrimml and runs through all the villages in the upper Salzach valley. The Kitzbühel Alps in the north and the Hohe Tauern in the south (highest mountain:
Großvenediger, 3,657m) characterise not only the landscape, but also local life. It is a difficult balancing act between ecological protection and economic utilisation of the impressive natural area, large part of which is legally protected as the Hohe Tauern National Park. This makes it necessary for the submissions to deal with possible limitations and restrictions due to nature conservation.
The approximately 40,000 people in this select region live on just under 1000sqkm. Zell am See, with around 10,000 inhabitants, is the district capi tal of the Pinzgau. Primary economic sectors are tourism and agriculture.
As in many rural regions, the issue of emigration, land use and development, second homes and the effects of climate change on local life and (ski-)tourism also play a role here.
High water and flooding in the villages between Krimml with its waterfalls and Zell am See have led to an increase in protective measures, which are currently being worked on.
Even people from Salzburg often don‘t realise that the Pinzgau region has a natural border with Italy. This arduous passage over the Krimmler Tauern was one of the escape routes for Jewish travellers to Italy in 1947 to escape the persistent anti-Jewish climate and set off for Palestine via Trieste.
As in most rural regions of Austria, the local brass bands and folk cultural organisations are firmly anchored in the culture. But there is also room for regional museums and initiatives with venues for contemporary art and culture.
APPLICATION DOCUMENTS
The remuneration will be processed in the form of a grant from the province of Salzburg.
All required documents must be sent as a single PDF file to kultur-wissenschaft@salzburg.gv.at
by Sunday, 12 February 2024, 23:59 at the latest.
The required PDF with a maximum number of eight pages and a maximum file size of 10 MB must contain the following information:
– Short outline of the project (max. five sentences explaining the essence of the project. The short description is for publication on the Supergau
website)
Remuneration
The total budget for the Open Call is 220,000 euros. Together with a jury
of experts, the artistic director selects projects that can apply within two
categories:
A. up to € 15.000,–
B. up to € 30.000,–
These two categories are purely indicative and say nothing about the quality and importance of the individual artworks. The categories play no evaluative role whatsoever in the programming, supervision and realisation and are not mentioned even after the judging.
The lump sums stated above must include fees, production and performance costs as well as travelling expenses. These amounts are gross amounts. It is expressly pointed out that the province of Salzburg, as the organiser, attaches great importance to „fair pay“ (www.fairpaykultur.att) and that the calculations are explicitly assessed in this respect. Fair, ade quate remuneration for all participants is one of the selection criteria.
Supergau provides accommodation and meals for a maximum of 2 people per collective / group during the residencies and invites all participating artists to stay overnight in Pinzgau for the entire festival period (in May/ June 2025) (flat-rate accommodation allowance per group).
Applicants are welcome to bring in additional funding from outside sources to support their proposal. The application is open to individuals, groups, or ensembles at any stage of their career.
Applicants must be at least 18 years old.
Supergau offers further support during the preparation and duration of the festival as well as professional marketing and press work.
Supergau will take place at the end of May 2025. The preparation period begins with the official announcement of all participants from the Open Call in May 2024.
Open Call closing date Monday, 12 February 2024
Jury meeting KW 15/2025
Announcement of selected artists KW 16/2024
First residence in Pinzgau 22–26 May 2024
Second residence in Pinzgau Late September 2024
Festival 23 May–1 June 2025
Organiser:
Province of Salzburg
Festival Management:
Matthias Ais (Land Salzburg)
Tina Heine (Atelier für Zeitgenossen)
Enquiries about the Open Call can be made by e-mail:
kultur-wissenschaft@salzburg.gv.at
Timeline
Contact
– Project proposal with a description of the project idea and technical
realisation
– Cost estimate in accordance with the selected category A or B
– Short CV, e-mail, telephone number, link to website, social media channels (if available)
Multiple submissions of the same project in different categories are not possible. Video work must either be embedded in the PDF or presented using storyboards or screen shots. Only the one PDF file (eight pages) with all required documents will be considered for the evaluation of the submitted work!
Organiser: Province of Salzburg
Festival Management: Matthias Ais (Land Salzburg) | Tina Heine (Atelier für Zeitgenossen)
Enquiries about the Open Call can be made by e-mail: kultur-wissenschaft@salzburg.gv.at
Deadline: 15 August 2021
"
The project is just related to the audiotape as an object. Please send me your tapes manipolated, smashed, broken, etc etc...
Show on line:
psycheoutprojects.tumblr.com
Submission address:
Silvano Pertone
Via Nuova Cantalupo 42a/1
17019 Varazze, Savona (Italy)
Info:
psycheoutfanzine@gmail.com "
Deadline: 11 March 2021
"Lab.18 art contest, is a call for submissions open to all kind of artists. Works allowed in the art competition are: drawings, paintings, sculptures, photographs, graphics, mix media and video. A great opportunity for the artists, which can win a cash prize, have the opportunity to exhibit the artworks and much more.
The following types of works are admitted: Painting, Sculpture, Photography, Mixed media, Digital, Video, Graphics, Net art, other (all visual works that can be reproduced through a picture are allowed).
The contest is addressed to professional and amateur artists, graphic designers, painters, photographers, etc. from all over the world.
Entry fee
45€
Prizes / Awards
5000,00€
- collaboration award for a new Malamegi collection
- artwork acquisition award
- cash prize
- monographic book prize
Details:
Deadline: 10 February 2021
"GETXOPHOTO’s Open Call provides an opportunity for visual artists and photographers to exhibit their work in the Festival’s next edition, in September 2021. To Share will be the theme of GETXOPHOTO’s 15th anniversary, aiming to create and use non-conventional installations in physical and digital spaces.
The international jury made up of Cristina de Middel –photographer–, Mariama Attah –curator of the Open Eye Gallery Photography Museum (Liverpool) –, Jon Uriarte –digital curator of Photographers’ Gallery– and Gwen Lee –director and co-founder of the Singapore International Photography Festival (SIPF)– will select 3 projects that will be part of the artistic programme in the next edition of the Festival."
Entry fee:
20€
Prizes / awards
"3 artists will benefit from (if the jury finds it convenient, the number of winners may be increased):
The production of an exhibition at GETXOPHOTO Festival alongside recognized contemporary visual artists
Fee of 400€ as participant of the Festival
Accomodation for 2 nights during the Opening Week.
Inclusion in the Festival’s programme and publication
Inclusion in the Festival’s communication marketing campaign
Dedicated entry on the Festival website
Being seen by a large number of visual arts and media professionals"
Details:
https://contests.picter.com/getxophoto-open-call-2021
Deadline: 28 February 2021
Festival for Experimental Music, Sound Art & Performance
No entry fee
Organizer provides
We can pay for travel, accommodation and food.
Details:
Deadline: 3 January 2021
a.topos Venice is pleased to present THE CREATIVE ROOM, an original initiative created by the Curatorial Collective to promote emerging creatives, following the CC’s commitment to enhance their visibility by providing an exhibition space to selected artists in the venetian contemporary art scene.
In this OPEN CALL first edition, we are inviting participants to send proposals that address a challenge imposed by the exceptional reality of lockdown and social distancing during the COVID-19 pandemic: How to recreate oneself? Exercising the gaze towards the outside? Repositioning self as subject/object? Share your artwork with us so that we can convert our gallery in an extension of your own CREATIVE ROOM.
Entry fee:
20€
Prizes / Awards:
2 exhibitions
Details:
https://atoposvenice.com/thecreativeroom
Il Museo Solomon R. Guggenheim e LG destina a Shu Lea Cheang il Premio LG Guggenheim 2024. La pioniera della Net art, la cui pratica interdisciplinare si estende per oltre trent’anni, è la seconda premiata nell’ambito della LG Guggenheim Art and Technology Initiative, collaborazione quinquennale tra l’istituzione Newyorkese e LG, innovatore tecnologico e leader globale nei settori dell’elettronica di consumo, dei prodotti chimici e dei componenti automobilistici, per sostenere e promuovere gli artisti che lavorano all’intersezione tra arte e tecnologia.
“Shu Lea Cheang è stata una delle prime a riconoscere il potenziale liberatorio del regno digitale. Celebriamo le sue audaci esplorazioni dei corpi, e dei loro desideri, nei nostri mondi digitali e analogici, e siamo entusiasti, insieme a LG, di riconoscere il suo necessario lavoro”, affermano la vice direttrice Naomi Beckwith, e Jennifer e David Stockman, Chief Curator del Guggenheim.
Dagli anni Novanta si è occupata di tecnologie emergenti (spesso fin dalla loro nascita) come strumento, come tema ed in innumerevoli forme, sviluppando una notevole comprensione della loro complessità e del loro ruolo nel plasmare la società. L’uso del codice, dei motori di gioco, del design del software, delle strategie di hacking e di mezzi tradizionali come installazioni, film e performance nei suoi progetti multiformi riflette il suo approccio unico al fare arte, fuori da ogni categoria prestabilita.
Oltre al suo lavoro pionieristico nella Net art, ha avuto una visione anticipata delle valute alternative e delle organizzazioni decentralizzate con Garlic=Rich Air (2002-), ha indagato le società gamificate con Bowling Alley (1995), ha sondato le biotecnologie in Locker Baby Project (2001-2012) e ha esplorato la loro natura mutevole in Mycelium Network Society (2017-).
Il suo lavoro è profondamente radicato nei suoi interessi per la fantascienza, l’estetica queer e la costruzione di comunità. Le sue esplorazioni delle strutture sociali nelle società in rete hanno fatto progredire la comprensione della circolazione delle informazioni e dei modi in cui le persone comunicano. Ha utilizzato strumenti di comunicazione analogici in Those Fluttering Objects of Desire (199293), sensori di movimento e sistemi di gestione dei dati in BabyPlay (2001), per sviluppare un approccio tecnologico alternativo basato sulla produzione condivisa. È anche un’affermata regista e ha prodotto e diretto quattro lungometraggi: Fresh Kill (1994), I.K.U. (2000), Fluidø (2017) e UKI (2023). L’installazione di Cheang, Utter (2023), è un esempio di come negli ultimi anni abbia rivolto la sua attenzione alle implicazioni sociali dell’apprendimento automatico.
“L’opera di Shu Lea Cheang è stata eccezionale tra le candidature di spicco. Le sue opere dinamiche presentano un’energia prorompente, palette di colori ipnotici e installazioni altamente complesse, giocose ed esteticamente piacevoli. In esse, l’artista rende la porosità tra il dominio fisico e quello digitale, offrendo al pubblico amalgami stimolanti con cui confrontarsi.
Traendo ispirazione dalla letteratura e dai film di fantascienza e dai videogiochi, i progetti e le sperimentazioni di Cheang nel campo dell’arte e della tecnologia presentano un’affascinante panoramica delle tecnologie avanzate. L’artista offre continuamente nuove chiavi di lettura dei cambiamenti tecnologici e dei loro effetti sulle nostre società e la sua vasta produzione è, e rimarrà, molto influente per generazioni. Siamo onorati di sostenere la sua pratica innovativa attraverso questo prestigioso premio”.
Cheang riceverà un onorario non vincolato di 100.000 dollari per celebrare i suoi risultati innovativi in questo campo. La giuria di quest’anno era composta da Eungie Joo, Curatore e Responsabile dell’Arte Contemporanea del San Francisco Museum of Modern Art; Koyo Kouoh, Direttore Esecutivo e Curatore Capo dello Zeitz Museum of Contemporary Art, Città del Capo; Noam Segal, Curatore Associato LG Electronics, Solomon R. Guggenheim Museum, New York; Carolyn Christov-Bakargiev, Direttrice del Castello di Rivoli Museo d’Arte Contemporanea, Torino; e Stephanie Dinkins, artista e destinataria inaugurale del Premio LG Guggenheim.
immagini (cover 1) Shu Lea Cheang, «UKI», 2023, still, digital color video, with sound, 80’ (2) Shu Lea Cheang, «Baby Love» (from «Locker Baby Project»), 2005. Networked media installation, dimensions variable. Installation view: «Baby Love», Palais de Tokyo, Paris, December 8, 2005–January 8, 2006. Photo: Florian Kleinefenn (3) Shu Lea Cheang, «Uttering», 2023. Digital color video, silent, 36 min., 26′ (4) Shu Lea Cheang with Dondon Hounwn, «Hagay Dreaming», 2023, performed at Taipei Backstage Pool, Taiwan, October 28–29, 2023. Documentary photograph. Photo: Hsun Lang Lin
L'articolo Shu Lea Cheang. Premio LG Guggenheim 2024 proviene da Arshake.
Locust Projects invita artisti locali, nazionali e internazionali a candidarsi per avere l'opportunità di proporre ambiziosi progetti digitali strutturati su più livelli che soddisfino l'ibridità e la flessibilità dello spazio fisico di Locust Projects e delle varie piattaforme di presentazione: in loco, nelle gallerie, in spazi interni o esterni, su schermi o online.
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L’intento è quello di stimolare le artiste e gli artisti delle performing arts all’esplorazione dello spazio digitale, come ulteriore o diversa declinazione della loro ricerca autoriale. Dovrà trattarsi di progettualità artistiche legate ai linguaggi della scena contemporanea e della performance, che nascano direttamente per l’ambiente digitale o che in esso trovino un ambito funzionale ed efficace all’esplicitarsi dell’idea artistica.
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Il programma Huntington Art & Research Residency proposto dalla Caltech
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The TRANSFER Architecture Video Award is an independent award, launched in 2019, to recognise the most creative and innovative short films in the field of architecture, city or landscape worldwide.
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Biodesign is a recent discipline that manipulates living matter and translates scientific discoveries and methods into real-world applications. Through this open call, they seek exemplary representations that open inquiry into the interdisciplinary experimental methods of manipulation with biological systems for design purposes.
The post Open call – Bio-Calibrated: Tools and Techniques of Biodesign Practices Symposium appeared first on Digicult | Digital Art, Design and Culture.
European artists, or collectives can apply with a project proposal for a residency of two months within January to December 2024. Since collaboration is one of EMAP´s key values, the artists will be collaborating with an artist of their choice or an artist local to the host institution.
The post OPEN CALL: European Media Art Platform (EMAP) Artist Residencies 2024 appeared first on Digicult | Digital Art, Design and Culture.
MUSAE aims to set up a Human-Centred Factory Model, based on the Design Future Art-driven (DFA) method, and integrate it into a (European) Digital Innovation Hubs (DIHs) network, to support companies in guiding strategic digital technology innovation and address future challenges in the food domain to improve people and planet wellbeing.
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Call for proposals is still open for artists, designers, collectives, networks, innovators, engineers, researchers and academics.
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Located in Switzerland, the Ecole Polytechnique Fédérale de Lausanne/Swiss Federal Institute of Technology Lausanne (EPFL) is a leading university.
The post Artist-in-residence program 2023: Enter the Hyper-Scientific appeared first on Digicult | Digital Art, Design and Culture.
With the “State of the ART(ist)” call for proposals, the Austrian Foreign Ministry and Ars Electronica are now creating a virtual art gallery to enable artistic freedoms to unfold within a secure framework.
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Anticamera is a space for dwelling, an ante-chamber leading to multiple possible paths for thought, research and exploration.
The post Anticamera open call – Body Politics: Making Subjectivities appeared first on Digicult | Digital Art, Design and Culture.
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