Deadline: 22 March 2025
Call for entries

4th-WALL
is Prospect Art’s programming arm dedicated exclusively to video art. We are a network of international organizations, galleries, artist collectives, and not-for-profit artist spaces interested in showing and promoting international video artwork in the framework of a video art biennial.

We are looking for video works for our 2027 programming, “Change/Exchange.” Entries will be considered for physical exhibitions and screenings presented in Los Angeles, Lisbon, and Budapest, a series of online screenings on our BROADCAST program, as well as the publication of articles on our ONE WORK program that will provide critical context to the works included in the project. The organization of how the works will be presented and on what platform(s) will depend on the nature of the selected works and will be at the discretion of the curatorial team.

We will select existing video works that resonate with the curatorial statement (see below.) We are looking for emerging and established visual artists who work in the medium of video from anywhere in the world. The works can be experimental, non-narrative, or narrative so long they are in the realm of video art, are conceptually based, and relate to the theme of the show, curated by Prospect Art’s Curatorial Fellow Maximilian Lehner, with the technical support of Prospect Art’s 4th-WALL Program Manager Pedro Inock.

Single channel multi-channel works and video installations will be considered. Performance-based works that include video elements will not be considered, nor will video documentation of past performances or documentation of video installations.

In addition to submitting existing works, you may also submit a project proposal to produce a new work in response to the Change/ Exchange theme. This added $1000 COMMISSION opportunity will be awarded to ONE artist to produce a new single-channel video work that will premiere on-line during the 2027 4TH-WALL Biennial.

All selected artists will receive artist fees in line with W.A.G.E. guidelines.

Curatorial Statement:

Change and exchange are closely related, maybe similar in some ways, but a mere notion of exchange cannot capture change. Change might be closer to a gift, an investment without its effects visible during one’s lifetime. For many, the “pure” idea of a gift is located outside the realm of imagination and is often perceived as something that asks for immediate reciprocity. What does it mean, then, to give something back? Does this gesture fuel change, or does it perpetuate exchange?

Change/ Exchange is an invitation to reimagine change without exchange. Let’s amplify practices that bring forth notions of change that do not rely on economic exchange and bring out individuals who give or accept a gift without any expectations or who would appreciate the unexpected. There must be more space for ‘weak’ proposals and mysterious gifts that can subtly bring about change.

REQUIREMENTS

We will consider single-channel and multi-channel video works and video installations. Please provide us with a single-channel version of the project you want us to review (you can composite a two-channel project or create ONE video file with consecutive video works in case of multi-channels; please insert title cards when necessary: channel 1, channel 2, etc.).

Answer all biographical questions.

Multiple entries are accepted; please fill out one form per entry.

Complete new project proposal requirements if you also want to apply for the $1000 mini-grant.

We ask for a $10 administrative fee per entry to complete the application.

As a small artist-run not-for-profit, the fee helps us offset the cost of administering the open call (if the fee is not manageable, please email 4thwall@prospectart.org for a waiver.)

Artists need a PayPal account to receive screening fees and a mini-grant if selected.

Please use PayPal and send the funds to ProspectArtProject@gmail.com or use the QR available in the application form.

FREQUENTLY ASKED QUESTIONS can be found https://www.prospectart.org/4th-wall-2024-open-call-1

Previous 4th-WALL Exhibition https://www.prospectart.org/performing-time

Upcoming 4th-WALL Exhibition (Opens August 2025, at the Torrance Art Museum) https://www.prospectart.org/affective-territories-alternate-belongings

Please prepare the following and submit it through the Google form below:

Artist name, address, phone number, email, and country of origin.

Artist bio (200 words)

Artist Statement (150 words)

Title of completed work submitted for review, medium/format, RT, year of production.

Link to submitted video work (with password) only Vimeo/YouTube links on private channels or a custom page on a personal website.

Description of work (200 words)

Upload a portfolio of previous works. (pdf)

Link to personal artist website if available.

Social media handle if available.

Upload an additional New Project Proposal if you want to be considered for the $1000 commission: a 3-page pdf that must include a description of the single channel project, approximate RT, and can include sketches, a storyboard, or relevant visual references.

DUE DATE
Applications are due March 22, 2025, at 11:59 PST.

You can direct further questions to 4thwall@prospectart.org

About the Curator:

Maximilian Lehner is a curator, critic, and art historian who emphasizes horizontal work structures, conceiving art and curating as epistemological forms to understand critical temporalities and the non-normative. For Kunstmuseum Moritzburg (Halle/Saale, GER), he is currently preparing the public program for Planetary Peasants (2025.) He was associate curator for ok.oskar, the 70th-anniversary festival at International Summer Academy of Fine Arts Salzburg in 2023, and curated exhibitions, among others, for Salzburger Kunstverein (Salzburg, AT), aqb (Budapest, HU), Škuc Gallery (Ljubljana, SI), Nova BAZA (Zagreb, HR) and ElectroPutere (Bucharest, RO). Next to academic publications and artist books, Maximilian’s writing is published in Camera Austria, MOST Magazine, Parnass, Artforum, RevistaArta, Kajet, and BLOK Magazine. He was part of the experimental research platform Anomalies, run by kulturpunkt.hr from 2023-24, and Critic-in-Residence at Igor Zabel Association for Culture and Theory in 2022. He studied art theory and philosophy in Paris, Stuttgart, and Linz and at CuratorLab at Konstfack Stockholm.

Deadline:
Saturday, March 22, 2025 (All day)
Submission links:

https://www.prospectart.org/4th-wall-2025-open-call

https://docs.google.com/forms/d/e/1FAIpQLSd9W0BgoAqSpWiUg0fLGPCpBJDmwCfv1CczdyTNLqa0HQFBLA/viewform

Submission fees:
Fees charged – Waiver available

Contact Email:
4thwall@prospectart.org

Deadline: 3 March 2025
Call for entries

The 32st Women Make Waves Int’l Film Festival
presented by Taiwan Women’s Film Association, will be held in Taipei, Taiwan in October, 2025.
We are now accepting international submissions for our upcoming edition!

Eligibility

*Directed at least by one female (including self-identifying female) director. For Queer films, filmmakers of all genders are welcome.
*Completed no earlier than 1st March 2023.
*A Taiwan Premiere is required.
*WMWIFF is open to all forms, styles, lengths, and formats. Anything related to LGBTQI+ communities, women themes and topics related to gender, feminism and beyond, and current events around the world that reflect the status quo.

Entry Fee and Deadline

*USD$15 or NTD$450.
*The deadline for submission is 03 March 2025.

How to Submit

*To submit, please make sure to read the guideline first, and fill in our entry form.
*Or, the entrants can also submit via Filmfreeway
*Please note that for the film submissions, entry fees are required. Your entry will only be accepted if WMWIFF receive complete entry form (including valid screeners) AND entry fees on time.

About Us

Established as a non-profit organization in 1993, Women Make Waves International Film Festival, Taiwan has been one of the major film festivals in Taiwan and has established itself as the biggest one dedicated to supporting female talents. WMWIFF aims to celebrate the achievements of outstanding female talents, to explore different aspects of women’s lives as well as to promote equality and rights of all genders. By covering a wide range of genres, issues, and representations of women, WMWIFF seeks to promote great cinematic arts by female directors and to advocate gender equality through films with feminist consciousness and various subjects.

More into

Deadline: 1 March 2025
Call for entries

The 12th West Virginia Mountaineer Short Film Festival
Dates & location of event context
April 10 – 12, 2025
Morgantown, West Virginia, USA

The West Virginia Mountaineer Short Film Festival invites submissions in video/film, animation, VR, video installation & performance to its 12th edition, which takes place April 10 – 12, 2025 on the campus of West Virginia University. We’re looking for innovative, provocative, highly charged and deeply personal works in a variety of genres and exploring multiple themes. This year we also welcome submissions to a special thematic category, exploring new insights into evolving definitions and understandings of Space, in all of its many contexts. Deadline for entries is March 1, 2025.

Entry Fee:
Regular Entry: $12
College Students: $5
Students should be currently enrolled at a university or college and must send a current student ID (photocopy is fine) to: wvmsff@gmail.com.

SUBMISSION CATEGORIES: We welcome works in a broad range of styles and categories:

Experimental
Short Narrative
Documentary
Animation
Student Work
Theme: Space
Two-channel video installation
VR
Planetarium / 360-degree dome projection

Space Theme:
For this year’s themed category, we’re thinking about “space” – in all dimensions – physical, social, psychological, conceptual, philosophical, cosmological and local. The festival seeks submissions that ruminate on the many social, psychological, philosophical, and material meanings of space. How do we experience space, both architectural and natural, in a bodily way? How do we make space for meaningful dialogue that bridges ideological gaps? How does the fantasy of outer space offer the promise of new possible futures? How do digital spaces permeate our material lives? Are we “in space” or do we make it? How do war and peace shape it? What philosophical, psychological, spiritual or political resonances cause these layers of space to intersect and fold in on themselves? Indeed, how might our understanding of the very nature of space itself be shifting at this notably tenuous moment in human history?

Video Installation, VR and Planetarium Dome Projection:
In addition to single-channel videos for screening, there are 3 other opportunities to consider as part of the festival. These include a 2-channel video installation space, a VR experience option, and a 360-degree dome projection option.

Two-Channel Video Installation:
We are seeking proposals for two-channel video installations in a white cube gallery space. There are two 1080p projectors that can by synchronized with up to 2 channels of audio. The dimensions are 2122 square feet and a ceiling height of 10 feet.

VR:
We seek submissions that are designed to be experienced in virtual reality and that engage with the festival theme. Submitted works can take the form of VR films, interactive experiences, etc. Please reach out to Jason Zeh at Jason.zeh@mail.wvu.edu for technical inquiries.

360-Degree Dome Projection / Planetarium:
We are accepting submissions both for live performance works and single channel experimental works designed to be experienced in a 360-degree dome projection environment that engage with the festival theme. This event will take place at the WVU planetarium. More information about the space can be found at https://planetarium.wvu.edu/. Please reach out to Jason Zeh at Jason.zeh@mail.wvu.edu for technical inquiries.

Submissions for the planetarium must conform to the following specs: Codec: h265 (HEVC) (or h264 is fine as well); Container: mp4; Framerate: 30 fps; Resolution: 4K (4096 x 4096 pixel); Target bitrate: 40-50 mbit/s

To Submit:
Submissions may be made through FilmFreeway (https://filmfreeway.com/TheWestVirginiaMountaineerShortFilmFestival)
Or through our website/online submission form:
(https://www.wvmsff.com/submissions)

Dates:
Deadline: March 1, 2025
Festival Date: April 10 – 12, 2025

Agreements:
• Maximum running time of 15 minutes.
• Works must have been completed after January 1, 2023.
• Separate entry form and fee required for each entry.
• Deadline for entry: March 1, 2025.
• Applicants allow festival organizers use of accepted works for all promotional materials and events

entry fee – Yes
Regular Entry: $12
College Students: $5

Contact addresses/URL
wvmsff@gmail.com

Deadline: 31 December 2024
Call for entries

hungry eyes festival
a festival at the intersection of film, performance and installation art
October 24th – November 2nd, 2025, Gießen, Germany

the festival
For its seventh edition, hungry eyes festival is once again looking for artistic works that question film in
an interdisciplinary way. A program consisting of short film series and installation works will explore
what constitutes the medium film and how cinematographic elements and working methods can be
translated into other media.
Together, we want to examine the extent to which film can provide political or social impulses, how
films or projections can intervene in real existing spaces, which assumptions about (filmic) aesthetics
can be turned upside down or what the relationship is between a repeatable two-dimensional film and
an installation work with no time limit. From a ballet of overhead projectors, to an exhibition with
flipbooks, to a silent film screening with VR-glasses, everything is possible.

the location
In the upcoming edition, the festival will take place decentrally at various locations and institutions in
Giessen. We are working together with Kinocenter – the local arthouse cinema – and Trafo e.V. art
studio. Another exhibition venue will be a glazed room in the town hall with a window front facing the
centrally located Berliner Platz.
hungry eyes ist looking for your short films and installation works!
Apply until December 31st!

short film
We are looking for short films regardless of the year and country of production. We particularly
welcome submissions that reflect on the medium of film, deal with it in an experimental way, defy
formal categorization and/or see themselves as cinematic experiments. Commissioned works,
commercials and trailers are excluded.
Duration: maximum 20 minutes
Language: We welcome submissions in their original language. If this is not German or English, we ask
you to send a film file with subtitles (in German or English).
Playback formats: For the screening at the festival we can use physical media or download links.
Unfortunately, we cannot play analogue formats, but they can of course be submitted in digital form.
The short film program will be presented at Kinocenter Gießen.

installation
We are looking for installations that relate to film, image media, image spaces or projections in terms
of content and/or form and can be realized in one of the following two spaces:
Trafo: Trafo is a studio community and an exhibition space with a charming ambience. The exhibition
space located in the front area is visible from the street via a wide window front; it is approximately
1
5-6m wide and 2.5-3m deep, and the ceiling height is approx. 4m. At the rear of the showroom is a
1.5m wide staircase, which must remain unobstructed for safety reasons. Link to pictures: pictures trafo
e.V.
Pausenraum (Giessen Town Hall): This room is located on the ground floor and is part of the wide glass
façade of the town hall on Berliner Platz, centrally located in downtown Giessen. The room will not be
accessible all the time, which is why works that can be seen through the shop window from the square
are suitable here. The dimensions of the room are approximately: 11m x 4.5m. Height approx. 3 m. Link
to pictures: pictures Pausenraum
The provisional exhibition dates are currently 23.10-2.11 and include one day for assembly and one day
for disassembly. These dates are subject to change and will be confirmed soon.

further information
Fee:
Short films: 150 EUR per film
Installations: 400 EUR per installation + 150 EUR per set-up and dismantling day
Technical equipment: We can provide exhibition equipment by prior arrangement.
Travel, transportation, accommodation: Travel and transportation costs as well as accommodation are
covered for installation-artists.

You can find more information about the festival, the team and the curation process on our website:
hungryeyesfestival.de

Apply via our online form
by December 31st at the latest
Short Films: https://forms.gle/5f9vF1tCzncWcVkT9
Installation Works: https://forms.gle/4PVK9ciKnnYQrgox7

Contact for queries:
kontakt@hungryeyesfestival.de
hungry eyes is looking forward to your submissions!

hungry eyes festival – kunstrasen giessen e.V.
Postfach 11 06 01; 35351 Gießen

Website:https://www.hungryeyesfestival.de
Instagram: https://www.instagram.com/hungryeyesfestival/
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Deadline: 15 December 2024
Call for entries

Athens Digital Arts Festival 2025

The most pioneering and longstanding International Digital Arts Festival in Greece, Athens Digital Arts Festival (ADAF), proudly announces its 21st edition and invites visionary artists, thinkers, technologists, and innovators to join us in shaping the future of digital art. Mark your calendars for 2025, as ADAF returns with a powerful new theme: Simulacra. We are calling for cutting-edge proposals to be submitted by December 15th, 2024, at 2025.adaf.gr.

Simulacra explores the compelling intersection of reality and hyperreality in the digital age. As technology like AI and ChatGPT redefines our world, ADAF 2025 challenges creators to reimagine how we engage with and interpret this dynamic, and often surreal, reality.

How do we navigate a world where the lines between the authentic and the artificial, blur?
How do digital constructs shape our collective consciousness, social identities, and future landscapes?

ADAF Simulacra will be a transformative exploration of these questions, celebrating the power of digital art to re-envision the boundaries of reality. From the immersive to the uncanny, we invite creators to delve into the realms of hyperreality, virtual worlds, and synthetic experiences.

Are you ready to question the essence of originality, challenge perceptions of authenticity, and explore the symbiosis between technology and ecology in shaping a sustainable future?

This is your chance to be part of a bold and immersive artistic dialogue that spans 12 categories:

Video Art, Animation, Installations, Performances, Music, AR/VR/XR, Workshops, Talks, Web Art, Digital Image, Games, and ADAF Kids.
Let’s explore how art can reflect not only the world we live in but also envision the worlds we have the power to create
Join us in this milestone event as we dive deep into the Simulacra, where art and technology converge to reshape our present and reimagine the future.

Submit your proposals now and be a part of the 21st ADAF experience!
https://2025.adaf.gr/submission-entries/

All applications will be considered for inclusion in the 21st edition, both physical and online, which will take place in Spring and Fall 2025, respectively. Shortlisted artists will be notified regarding the status of their application and details about the possible presentation of their work in either or both festival versions.

This event is organized as part of the initiative “20th and 21st International Festival of Digital Arts of Greece – Athens Digital Arts Festival,” which has been included in the Operational Program “Attica” under the NSRF 2021-2027 and co-financed by the European Regional Development Fund and national resources.

For more information, visit https://adaf.gr

Deadline: 30 April 2025
Call for entries

Laterale Film Festival 2025
Cosenza Italy – August 2025

Laterale is an international non-competitive festival of cinematic art organized by the Associazione Culturale Laterale. Its aim is to highlight the most innovative aspects of contemporary audiovisual languages and to bridge the gap between artistic research and public engagement. Particular attention is given to young and independent filmmakers, as well as to self-made, no-budget works that result from individual exploration.

The ninth edition of Laterale will take place in Cosenza (Italy), at cinema San Nicola, in August 2025. The festival promotes a free and stimulating platform for sharing, showcasing what is usually neglected or rejected due to its departure from conventional approaches to making and interpreting cinema. It is a space that breaks down barriers and prejudices, resisting massification and standardization; a space that aims to become an artistic laboratory where the cinema of the future can be discovered today.

Rules

1) Films of all genres, styles, and narrative forms released on or after January 1st, 2023, are eligible.
2) Films must have a maximum length of 20 minutes, including credits.
3) Films may only be submitted via Filmfreeway.
4) Seven deadlines are provided.
5) The registration fee is non-refundable and is considered a voluntary contribution to Associazione Culturale Laterale for the event’s organization.
6) The film selection is curated by the festival’s artistic direction; notification of selection must remain confidential until the program is announced.
7) Once selected, films cannot be withdrawn from the festival.
8) Some frames from the selected films may be used for festival promotional purposes.
9) Selected films will be added to the Laterale Film Festival archive and will not be commercially exploited to protect the interests of the authors and producers. The organizers commit to using the films solely for cultural purposes.
10) Films submitted in previous editions and not selected will not be considered.
11) The festival’s direction reserves the right to include in the Lateral Selection films that slightly exceed the scheduled time limits but are considered significant for their artistic value.
12) Participation in the festival implies full acceptance of these regulations. The artistic direction has final judgment on any controversial cases.

Enter via Filmfreeway: https://filmfreeway.com/lateralefilmfestival

Website: https://www.lateralefilmfestival.com/
FB: https://www.facebook.com/lateralefilmfestival
Instagram: https://www.instagram.com/laterale_film_festival
Email: lateralefilmfestival@gmail.com

Deadline: 3 November 2024
Call for entries

VII International Bad Video Art Festival
December 18 & 19, 2024; Laboratorio Artistico Multidisciplinare Autogestito, Cosenza, Italy

The International Bad Video Art Festival (BVAF) is an independent, artist-run initiative. The Festival has been held since 2017. Video artists and B-movie fans Natalia Monakhova and Andrey Slaschilin once decided to explore whether something like bad video art exists. It is well known that B-movies have long since formed a unique cultural niche with their own heroes and fans. In other art sectors, however, the concept of “bad” has not been explored as actively.

We are looking for videos that are at the intersection of bad art, bad painting, and bad cinema. We propose to study extreme forms of video art and single out certain works as bad videos or “B-videos”. Join us if you are interested in the issue of quality and boundaries in art.

This year, the BVAF team is collaborating with L.A.M.A. — Laboratorio Artistico Multidisciplinare Autogestito from Cosenza, Italy.

We are looking for works that meet any of the following criteria:

Technically poor (low resolution, over-/underexposed, unstabilized, wrong focus, poor sound or no sound at all, bad editing, wrong color correction);
Lacking content (irrelevant, empty, shot just for the sake of it, without any purpose, idea, or concept);
Consciously/unconsciously exploiting the aesthetics of camp, trash, or B-movies.

When submitting an application, please explain why you consider your video to be bad. There’s no need to send a concept if you have one.

Submission and participation are free (as a non-profit, artist-run initiative, we are unable to offer any screening fees). We do not accept animation, videos made by people under 18, family home videos, or porn. We accept for consideration not more than 3 videos per artist/collective. A video must not be shorter than 1 minute or longer than 10 minutes (if it’s longer but undeniably bad, send us an email explaining why we should accept your video). As this edition is being held in Italy, we kindly ask you to add Italian subtitles if your video contains dialogue in a language other than Italian, or send us an SRT file so we can assist with the translation.

NO entry fee – no
badvideoart@gmail.com
https://badvideoart.wixsite.com/badvideoart/vii-open-call-2024

Deadline:
Call for entries

Singletary Center Visual Music Festival

The Singletary Center presents the inaugural Visual Music Festival in the SCFA Recital Hall. Join us for a day of dynamic expressions of abstract art featuring a curated program of multimedia works from an international collection of contemporary artists. Experience the harmonies of light and sound as we explore what goes on in the mind while listening to music!

The Visual Music Festival program begins at 10:00am and will play continuously throughout the day until 5:00pm. Audiences are welcome to attend at any time throughout the day. Admission is free.

Submission deadline: 15/12/24
Festival date: 08/02/24, 10am – 5pm; Singletary Center for the Arts, University of Kentucky; 405 Rose St, Lexington, KY, 40506
GENERAL RULES:

• The films must be made entirely with abstract imagery, avoiding representation. That is: no cars, no people, no landscapes, no texts, etc.
• You can use any technique you’d like: drawing, video composition, cgi, scratch, op-art, stop-motion, camera-less…
• The soundtrack cannot feature any words, in any language. If you’re using a song, this must be instrumental or feature non-narrative voices, (no lyrics).
• Maximum running time is 8 minutes.
• Open and/or closing credits are welcome.
• Films must have been produced after 2017.
• We kindly request authors to enter their film/s in Full HD/1080p, as we’ll screen all the selected works in that resolution.
• You must provide a direct download link (or via FTP) to your work, as we need offline access to it. Submitted works without a download link might be disregarded.
• Our preferred formats are .mov/.mp4. Please use none or high-quality compression whenever possible.
• Audio can be presented in mono or stereo but surround sound or spatial audio can’t be supported.
• This festival is not a competition. There are no monetary prizes and no judging panel.

ELIGIBILITY:
• All people in the world are eligible to participate in this festival. There is no entry fee.
• Each author can submit as many works as they please, but only up to three works per author may be selected.

Email all submissions, via direct download link or FTP to: visualmusic@l.uky.edu

Deadline is 12/15/24.

By participating in this call, the author conveys the non-exclusive rights to screen their material at the UK Visual Music Festival. By taking part in our call, participants confirm being the owners of any license, copyrights, and image/sound rights. Submitting your work does not guarantee exhibition at the Festival. All applicants will be notified of their final decision via email. By submitting to and being selected for the festival, you are giving UK permission to potentially use a portion of your piece, stills or short clips, for festival promotion. Additionally, you are giving permission for your work to be potentially included on the Singletary Center for the Arts Vimeo page (non-monetized, educational, non-downloadable).

No entry fee
Website: https://found.ee/scfavisualmusic Contact email: visualmusic@l.uky.edu

Deadline: 15 September 2024
Call for entries

Inaugural “Field of View: 360 Video Festival”

by the Institute for Applied Creativity at Texas A&M University

The Institute for Applied Creativity at Texas A&M University proudly announces the call for submissions for the inaugural “Field of View (FOV): 360 Video Festival”. This pioneering event invites creative minds, technologists, and artists to explore the transformative potential of 360-degree video technology with a focus on immersive storytelling.

If your 360 video is selected as a finalist, it will be showcased in the state-of-the-art Igloo system at Texas A&M University and within a virtual environment in Spatial. Viewers will be able to experience your work via live stream on web browsers and through VR headsets, providing a broad and accessible audience for your innovative creations.

Eligibility

The FOV 360 Festival is open to individuals who are 18 years of age or older. There are no restrictions on whether your film has previously been screened online or at other film festivals.

FILM ELIGIBILITY

To be eligible for submission, your film must adhere to the following conditions:
1. Submit your film as 180 / 360-Degree Video via FilmFreeway, Vimeo or YouTube
2. English subtitles are required if your film has dialogue or text in a language other than English
4. Must be shot and encoded in minimum 4K
5. By submitting you agree, if selected as a Finalist, to have your film screened at LundinStudio (VR Headset) and live streamed via our secure password protected pay-per-view player (OneStream.live) in March 2025.

PLEASE CHECK BEFORE SUBMITTING YOUR 180/360-DEGREE VIDEO:

Use one of below 180/360 Players. if your video plays in one of them, you are all good.
– VLC (PC/Mac)
http://www.videolan.org/vlc/

– Window Media Player (PC)
https://apps.microsoft.com/detail/9wzdncrfj3pt

– YouTube 360 VR Player (Free account)
https://www.youtube.com/@360

– Vimeo 360 Player (Account)
https://vimeo.com/blog/post/introducing-vimeo-360

TERMS AND CONDITIONS

By submitting, VR Film Festival is hereby granted the right to utilize an excerpt from any film submitted and accepted for exhibition at the Festival for promotional purposes. The individual or corporation submitting the film hereby warrants that it is authorized to commit the film for screening via live streaming, and understands and accepts these requirements and regulations. The undersigned shall indemnify and hold harmless VR Film Festival from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney’s fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of or damage to the screening videos entered.

SELECTION PROCESS

The Selection Committee is composed of various directors, producers and filmmakers alike. This committee is responsible for the selection of the films throughout every submission category. Every film submitted that adheres to the conditions for submission is watched and judged by the committee. Applicants will be informed of the selection of their film by the date posted. Notification will take place through email.

FESTIVAL AND FILMS PROMOTION

Right holders grant VR Film Festival, without compensation, the right to reproduce excerpts of the films (excerpts limited to 10% of the duration of the film and in any case shall not exceed 1.5 minutes), stills, posters, synopsis and/or any other texts related to their films for promotional purposes of the Festival, on any support and any media, press and the Internet included. The producers also hereby guarantee that they have the legal authority to grant such rights and have cleared all rights related to the films (including, but not limited, to the music).

ARCHIVE

By submitting your film, you accept that VR Film Festival may also use the films for its educational, promotional and non-commercial activities. Films archived will never be shown or released by VR Film Festival in full online without the direct consent of its owners. After the screening/live stream we will delete and erase all films from the online platform.

ACCEPTANCE OF ABOVE CONDITIONS

Submitting a film to the Festival implies the full acceptance of the Terms and Conditions mentioned above.

Format & Duration:
Submit a link of your 360-Degree Video file that can be downloaded (e.g. Dropbox, Youtube)
English subtitles are required if your film has dialogue or text in a language other than English
Must be shot and encoded at minimum in 4K

Submission Categories
We accept 360-Degree Videos from any country in these categories
Narrative
Documentary
Experimental
Education & Research

Deadline: September 15, 2024

Entry Fee: There is no fee; all submissions are free.
Acceptance | Awards

Artists will be notified of acceptance on October 16th, 2024.

There will be six awards.

Best in Narrative
Best in Documentary
Best in Experimental
Best in Education & Research
Best Student work

Create a New Submission! – https://forms.gle/gRxyLYfTwPAVkiRTA

About the Festival

The Institute for Applied Creativity at Texas A&M University is dedicated to pushing the boundaries of human creativity through advanced technology, innovative research, and empowering educational practices. The Field of View: 360 Video Festival is a testament to our commitment to fostering a culture of creativity and innovation. By bringing together diverse perspectives and cutting-edge technologies, we aim to inspire new ways of thinking and storytelling.

Join us in celebrating the future of immersive media and showcase your work on a global stage. For more information and to submit your 360 video, visit https://pvfa.tamu.edu/iac/field-of-view-360-video-festival/.

Event Details:
Date: Nov. 25 (M) – Dec.6 (F)
Location: Igloo Studio at Texas A&M University and VR space

Don’t miss this opportunity to be part of a revolutionary event that bridges the gap between technology and artistry. Submit your 360 video today and become a part of the future of immersive storytelling.

Contact Information
artfestival@tamu.edu (IT)

Deadline: 20 August 2024
Call for entries

SIMULTAN FESTIVAL 2024
—Desire for the Useless

Dates & location of event context:
October 3-6, 2024, Timi?oara (Romania)

The 19th edition of SIMULTAN Festival will take place between 3-6 October in Timisoara, Romania – under the theme: Desire for the Useless.

In a world where simulations often replace reality, the line between useful and useless becomes blurred. Uselessness reveals the constructed nature of perceptions, prompting us to reconsider what we consider real or valuable. […]

The desire for the useless is not about pursuing uselessness. Rather, it’s about finding meaning in the seemingly impractical through creativity, critique, and insight. Think of desire as energy, not a void. When desire is free from the constraints of utility, it becomes a force that drives us towards new ideas and expressions, showing us that the useless has its own productivity.

SUBMISSION GUIDELINES
We are looking for submissions of innovative video works related to the festival theme —Desire For The Useless, produced in the last two years (2022-2024).
The call is open for both, emerging and established artists or groups and collectives.

NUMBER OF WORKS / DURATION
A maximum of 2 works by one author can be submitted, with a duration of up to 10 min (each). There is no submission fee.

APPLICATION
Upload a preview version of your video to Youtube (can be unlisted) or Vimeo (optional with password) and include the link in the application form.
The video must contain the title of the work, the author’s name and year of production.

AWARDS
We do not consider this call a competition, but we will reward 3 video works with a 500 Euro artist fee, taking into consideration their idea and technical execution.

JURY
All works will be reviewed and selected by the festival’s curatorial team. Those accepted will become part of the festival screening program. The jury’s decision is final.
Selected works will be published after the event in the festival archive (to be agreed in the application form).

Contact addresses / URL
https://open call.simultan.org/
simultanfestival (at) gmail.com

CYFEST è una realtà artistica e culturale nomade, viva e in continua espansione, fondata da un gruppo di artisti indipendenti nel 2007. Trova le sue radici nella sperimentazione e nella ricerca artistica, articolata nello sviluppo delle relazioni fra diversi media. I linguaggi legati alle New Media Art ed alle Nuove Tecnologie vengono fusi, ampliati, connessi dando vita a dimensioni percettive nuove.

CYFEST 15 si è svolto a Yerevan, Armenia e Miami, USA; oggi accolto negli spazi del CREA – Cantieri del Contemporaneo di Venezia, fino al 30 agosto 2024.

Il tema intorno al quale si sviluppa il festival è la vulnerabilità, sviscerata nella sua dimensione più profonda, legata all’essere umano e a tutto ciò che lo circonda, abbattendo i confini di specie, tempo e materia. Tale condizione che abita il nostro pianeta viene sviluppata in una chiave emancipatoria, dove attraverso la declinazione in linguaggi artistici differenti e complementari, diventa testamento della nostra più autentica esperienza.

I moderni spazi del CREA ospitano un programma vasto, che si articola in vari formati, comprendendo installazioni, performance e talk. Tra le principali opere figura il progetto multidisciplinare Drop Tracer, che esplora le dinamiche degli agenti non umani e la relazione tra immagini e mondo naturale, realizzato da Tuula Närhinen. Le pelli generate dalla fermentazione da batteri danno vita ad un un’opera di Ann Marie Maes, la quale esplora il potenziale scultoreo dei materiali organici e le interfacce tra umano e non umano, così come tra il microscopico e il macroscopico. Il collettivo Where Dogs Run, pionieri nella sperimentazione e nella ricerca artistica legata alla New Media Art, analizza i concetti dei set di Mandelbrot mediante modelli di maglieria sviluppati in una performance dal vivo.

Mariateresa Sartori, con l’uso della tecnica del frottage, mette in evidenza una geologia sub-urbana, nascosta all’occhio, indagata nei suoi aspetti materici vivi, facendo luce sulla poco conosciuta storia della cava di Rosà, nel vicentino. L’installazione multimediale di Elena Gubanova e Ivan Govorkov analizza e sviluppa il concetto di «densità temporale» elaborato dall’astronomo sovietico Nikolai Kozyrev. La mostra presenta anche i rari monotipi «Re-Pressions» dell’acclamato artista armeno Samvel Baghdasaryan (1956-2017), opere sperimentali di videoarte di Fabrizio Plessi, sculture gonfiabili in tessuto di Irina Korina, e oggetti architettonici e urbanistici realizzati con LED riciclati di Alexandra Dementieva. Inoltre, una nuova installazione di Anna Frants e molte altre opere arricchiscono l’esposizione.

CYFEST 15 – International Media Art Festival, Giudecca, Venezia, 15.04 – 30.08.2024

immagini: (tutte) CYFEST 15 – Vulnerability, Installation View, CREA — One Contemporary Art Space, 2024. Photo Edith Bunimovich

L'articolo CYFEST a Venezia proviene da Arshake.

Deadline: 25 June 2024
Call for entries

NOUVELLE BUG – REVINE LAGO – 3rd Edition

Nouvelle Bug is an international workshop of cinema shot inside videogames, sofwares, metaverse and artificial intelligence where 40 directors will be selected to attend seminars, theoretical and practical lessons and will then write, shoot and edit a film inside the metaverse or videogames or using artificial intelligence. It is tutored by filmmaker and producer Andrea Gatopoulos (Cannes 2022, Locarno 2023), Ismael Chandoutis (Cesar Winner, Semane de la Critique Winner) Total Refusal (Berlinale, Locarno Winner) and Gala Hernandez Lopez (Cesar Winner).

Awards:
– Gargantua award, distribution of two short films for free, valued at € 2500
– Three free distribution strategies by Gargantua Film, valued at € 500
– Gioiafilm award, distribution of one short film for free, valued at € 1400
– Sayonara award, distribution proposal for one short film, valued at € 2000
– Lago Award, one of the projects will be picked by the festival and screened at Lago Film Fest 2025

Scholarships:
– WeShort offers a full scholarship covering the cost of the workshop to one of the filmmakers.

Timeline:
– Submission is free
– Deadline Jun 25th
– Selection announcement: Jun 28th
– Workshop dates: Aug 18-27th
– Award ceremony: Oct 1st
– Location: Revine Lago, Italy

Costs:
– Live workshop (15 spots) €640
– Online workshop (25 spots) €440

Production: Il Varco Creative Hub

Submission link https://www.ilvarco.net/nouvellebug-us/
instagram: https://www.instagram.com/nouvellebug
email: amministrazione@ilvarco.net

Deadline: 7 July 2024
Call for entries

The 18th Busan International Video Art Festival

Period: 5 ~ 27 October 2024

Venue: Space Heem, Sumi-ro 50beon ga-gil, Suyeong-gu, Busan, Republic of Korea

The call for submissions is open for the 18th Busan International Video Art Festival (BIVAF). Submissions are available for two weeks, from 24 June to 7 July 2024.

Busan International Video Art Festival (BIVAF) serves as a platform to support global artists and present unique perspectives and untold stories in contemporary video art. With a focus on showcasing the latest trends, BIVAF amplifies voices that are often overlooked in mainstream international art events in Busan. In particular, the BIVAF supports artists who are thinking about contemporary socio-political issues and video as a visual medium.

Submission link(**Google Forms**): https://forms.gle/W3BcYZdGAFsitDTJ9

*SUBMISSION GUIDELINES*

? ELIGIBILITY & RULES
? All works in video format can be submitted
? An artist can submit one work
? We only accept works produced from 2022 to the deadline

? PRIZE
? 1,000,000 KRW for prize-winner
? Screening at the 18th BIVAF

? DEADLINE & HOW TO APPLY
Period: 24 JUNE ~ 7 JULY 2024 (KST)
How to apply: Google Forms
https://forms.gle/W3BcYZdGAFsitDTJ9

Submission fees: Free

? SELECTION & ANNOUNCEMENT
? First selection board: the participating curators 2024 and the BIVAF committee
? Final selection board: the jury composed of two experts and the BIVAF committee
? The total number of selected works will be five, including one prize winner.
? The selected works will be announced on our website and social media at the end of August 2024.

? INQUIRIES
videoartbusan@gmail.com

? HOSTED BY
BIVAF Busan International Video Art Festival

? SUPPORTED BY
Busan Cultural Foundation
Busan Metropolitan City

NO entry fee – no
http://www.videoartbusan.com/
videoartbusan@gmail.com

Deadline: 1 September 2024
Call for entries

ONE WORLD INTERNATIONAL HUMAN RIGHTS FILM FESTIVAL, 27th?EDITION?
March?12?– 20, 2025 in Prague and in more than 40 towns around the Czech Republic and in Brussels.?

We would like to invite you to submit your film?to the 27th?edition of the festival. One World has grown over the years to become the largest human rights film festival in the world. It is one of the leading cultural events in Prague and the Czech Republic.?

We are looking for:?

Feature or mid-length?creative?documentaries?finished in?last 2 years (2023?- 2025)?-?minimum length is 40 minutes?
Projects for virtual reality (interactive projects, AR, XR and 360° films)
Docs for kids?- short documentaries and animated films?for children?(no experimental films)??

Creative documentaries on human rights, social, political, environmental, and media issues will be selected based on the quality of the filmmaking and the power of their stories.

Selected film?are?screened in four competitive categories: International?Competition?for creative documentaries,?Right To Know Competition?for documentaries making an exceptional contribution to protecting human rights,?Czech?Competition?for local documentaries; One World Interactive Competition for human rights oriented virtual reality projects focused on social impactand several non-competitive thematic?categories; and several non-competitive thematic categories.

For competitive categories, we prefer?World and International premieres?– in case you plan to premiere your film at One World?Festival, please contact us for more information at?program@oneworld.cz.?

A submission fee will be charged?to cover administrative costs:?

Feature and mid-length documentaries: 30 EUR?

Docs for Kids:20 EUR?

The fee will be waived for selected countries of production (more information in the submission form).?

ON-LINE SUBMISSION FORM:??
https://my.oneworld.cz/film-submission/

https://www.jedensvet.cz/

FIRST FILM SUBMISSION DEADLINE:?SEPTEMBER 1, 2024

FINAL FILM SUBMISSION DEADLINE:?NOVEMBER 1, 2024?(for films finished between September and November 2024)?

Deadline: 14 June 2024 / 12 July 2024
Call for entries

BIDFF #10: MAPPING BODIES

OPEN CALL FORT SHORT DANCE FILMS
Filmmakers, dance artists, animators, visual artists and digital art makers are invited to submit their works for the competition section of BIDFF – Bucharest International Dance Film Festival (September 5 – 8, 2024).

BIDFF is looking for its competitive sections for short dance films produced in the last two years that do not exceed 20 minutes in length and have a minimum quality of Full HD (1080p). The films can be either live action or animation, in genres of fiction, documentary, experimental, screen dance or musical. Films that talk about the body or the world of dance, as well as conceptual shorts oriented around the idea of movement, are also accepted.

Artists are encouraged to submit especially daring cinematic works dealing with topics interconnected with ecology, technology, body transformations and connections between past and future.

The theme of the tenth anniversary edition of BIDFF, “Mapping Bodies”, invites artists and audiences alike to imagine the dance of the future as a map of artistic journeys across various cultural or socio-political contexts, its crossing enriching the way we communicate and express ourselves and revealing new perspectives on the contemporary world.

Filmmakers can submit their works via FilmFreeway by no later than June 14 (regular deadline) or July 12 (late deadline). More details about the open call on https://www.bidff.ro/open-call-2024.

All applicants will be informed about the outcome of their submission by July 31, 2024.

Contact details: contact@bidff.ro

Che il Padiglione d’Arte Contemporanea di Milano sia da alcuni anni una delle istituzioni pubbliche italiane più ricettive alle ricerche di artisti attenti ai contesti sociali, nonché alla performance è abbastanza noto tra gli addetti ai lavori: a definire tale identità ha contribuito in maniera cospicua la direzione artistica di Diego Sileo che, con competenza, curiosità e senza disdegnare la provocazione, dedica parte della programmazione a tale medium, attraverso mostre tanto di italiani quanto di figure internazionali, riannodando tragitti che segnano la storia dell’istituzione milanese. Quello che forse è meno evidente a chi non frequenta sistematicamente il PAC è che l’edificio stesso sembra favorire andamenti laterali rispetto alla tradizione delle arti visive, “naturalmente” aperto a esplorazioni che eludono “l’armadio chiuso” del modernismo: la grande vetrata affacciata sui giardini di Villa Reale è membrana osmotica con l’area verde retrostante, la sua continua mutevolezza cromatica e luminosa, la sua piacevole ma invadente presenza. E ugualmente il ballatoio che corre parallelo al vano centrale del piano terra si trasforma agevolmente nel balcone da cui assistere a quanto si svolge in basso. Un ideale loggione, tropo di una dimensione teatrale celata appena sotto la pelle dello spazio museale.

Dal 19 marzo e fino al 9 giugno, il PAC ospita la prima retrospettiva italiana di Adrian Piper (New York 1948), figura di spicco dell’arte post-concettuale statunitense, particolarmente rappresentativa per il costante impegno su aspetti e questioni legate al razzismo, ma con rare apparizioni italiane, tra cui il tempestivo Parlando a me stessa. L’autobiografia progressiva di un oggetto d’arte, edito in italiano da Marilena Bonomo nel 1975, con la presumibile mediazione di Sol Lewitt; il prestigioso Leone d’oro alla Biennale di Venezia del 2015, quella diretta da Owki Enwezor; la traduzione di Meta-art (1973) per Castelvecchi nel 2017 a cui aggiungere qualche inclusione di lavori in rassegne collettive. Sebbene la dimensione performativa a cui si è accennato in apertura, questa volta sia affidata solo alla documentazione fotografica e audiovisiva con cui si da conto di numerosi interventi di Piper, in particolare della splendida Funk Lessons (1983-85) tramite il film di Sam Samore, lo stile del curatore è ben riconoscibile. Infatti, tranne pochi lavori giovanili, tutto guarda al mondo, oltre i convenzionali problemi del visuale.

Il visitatore è accolto da un brusio di voci che provengono da installazioni sonore e video che punteggiano il percorso espositivo: una dimensione corale messa in evidenza sin dalle prime opere, con Negative Self-Portrait (1966), lavoro figurativo su carta, firmato “Adrienne”, subito prima quindi dell’adozione del più neutro – ma con sfumature maschili – Adrian. L’artista si presenta quindi con una identità multipla e sfaccettata: sebbene ricorra sovente alla propria immagine disegnata, fotografata, ripresa in video, i suoi connotati restano volutamente sfocati tanto rispetto all’appartenenza a un gruppo etnico definito – come avverte la definizione che campeggia su materiali promozionali dell’esposizione, Race Traitor – quanto dal punto di vista del genere. Se questo secondo aspetto è mobilitato solo indirettamente in The Mythic Being (1973-1980), Race Traitor è il titolo di un lavoro del 2018  in cui l’artista rielabora la riflessione sulla propria identità formulata quarant’anni prima, con i Political Self-Portraits (1978-1980), giocati sull’associazione tra la riproduzione della fotografia del passaporto – per antonomasia lo strumento di identificazione burocratica del cittadino – e una serie di eventi biografici in cui Piper ha preso coscienza del gruppo razziale a cui apparteneva o al quale gli altri ritenevano appartenesse. Il titolo della mostra, quindi, allude anche all’esperienza del passing, tematizzata dall’artista in questi e altri interventi, rievocandone le ambiguità sulla scorta sia della tradizione letteraria, sia delle pressioni sociali.

Attraverso approcci spiazzanti, Piper lavora per erodere le linee delle costruzioni sociali che dividono le persone in gruppi razziali: dalla riproposizione dei cliché al loro ribaltamento, fino all’esplorazione di situazioni in cui i presenti – visitatori inclusi – sono disorientati. In tal senso si muove la celebre installazione Cornered (1988) in cui il pubblico del museo diventa anche il destinatario del monologo della professoressa Adrian Piper[1], trasmesso da un televisore installato tra due certificati di nascita in cui un medesimo individuo viene definito “octoroon” nel 1953 e “white” nel 1965.

Nel video, infatti, Piper spiega – rivolgendosi direttamente al visitatore in sala – proprio l’impossibilità teorica di definirsi bianco o nero nella società statunitense, dove i contatti tra i due gruppi sono antichi e ramificati. La sensazione di essere parte in causa, parte del problema, di essere tra gli interlocutori dell’artista non ci abbandona mai: dal reiterato impiego del pronome “you” nei titoli, fino all’adozione dell’indagine sociologica che nella serie Close to Home (1987) fa emergere – potenzialmente nelle biografie di ciascuno – omissioni circa il proprio inconfessato razzismo; dalle luci che alternativamente si accendono e si spengono in Black Box /White Box (1992) trasformando l’osservatore in osservato al ricorso agli specchi in Das Ding-an-sich bin ich (2018).

Pur rinunciando alla narrazione lineare con l’intento di calare il pubblico nel bel mezzo delle prove di un coro, in cui le voci si alternano e si sovrappongono, la mostra dipana una conversazione che copre una carriera lunga quasi sei decadi, puntellata da prestigiosi riconoscimenti, come si deduce dalle collezioni da cui provengono i pezzi in mostra, coerente nel nucleo semantico ma diversificata per medium e stili, dai lavori d’esordio debitori dell’arte concettuale, fino alle recenti animazioni digitali, passando per installazioni, video e variazioni attorno all’impiego della fotografia e della scrittura.

Tra le opere stilisticamente più sorprendenti i Vanilla Nightmares (1986-1989, fig. 6) disegni a carboncino eseguiti sulle pagine del New York Times. Resi celebri dalle riflessioni di Hal Foster in Il ritorno del reale, le opere insistono sulle paure che alimentano il razzismo: con fisionomie esagerate e corpi vistosamente erotizzati, l’artista tratteggia donne e uomini bianchi e neri che visivamente interagiscono con le figure riprodotte nelle pubblicità o fotografate per la cronaca, e in generale entrano in risonanza con le notizie relative al Sudafrica pubblicate dal quotidiano. Ma dal vero si apprezza quanto il tratto, volutamente caricaturale e semplificato, non si sottragga alle atmosfere neoespressioniste di quegli anni, mettendo ancora una volta in comunicazione personale e collettivo, pubblico e privato, e con un approccio intersezionale ante litteram.

[1] Oltre che artista visiva, Piper ha insegnato filosofia teoretica in numerosi atenei statunitensi; dal 2005 vive a Berlino.

Adrian Piper, RACE TRAITOR, PAC- Padiglione Arte Contemporanea, Milano, 19.03 – 09.06.2024

images: (cover1) Adrian Piper, «Das Ding-an-sich bin ich», 2018, photo Nico Covre (2) Adrian Piper, «Race Traitor», 2018, stampa digitale (3) Adrian Piper, «Cornered», 1988 (4) Adrian Piper, «Close to Home», 1987, fotografie, testo, audiotape  (5) ) Adrian Piper, RACE TRAITOR», PAC, Milano, ph Nico Covre – Vulcano Agency (6) Adrian Piper, «Vanilla Nightmares #11», 1986, carboncino su pagina di giornale.

L'articolo Adrian Piper al PAC di Milano proviene da Arshake.

Deadline: 30 May 2024
Call for entries

11th Cairo Video Festival
Video Art & Experimental Film
Deadline for submission: 30 May 2024
https://www.cvf.medrar.org/call-for-submission-for-the-11th-cairo-video-festival/

Medrar for Contemporary Art launches its call for the 11th edition of Cairo Video Festival, which will be held in December 2024. The festival continues its focus on providing a platform for sharing and discussing newly produced video art and experimental film. Programs will be screened in conventional and non-conventional venues, in theater and exhibition spaces to promote, expand and harvest attention to the practice.

The 11th edition of Cairo Video Festival culminates many steps and stages that represent our experiences with video art and experimental film, and also summarizes our recurrent inquiries about the relationship between artistic expression and the reality we live in, the current events and our eagerness to experiment and add new and different values ??with each edition. It is an opportunity that we yearn for with every edition to witness these innovations, experiences and new concepts from around the world, and to share them with the public.

The call for submission is directed towards video artists and experimental filmmakers from various technical fields. We also encourage designers and developers who work in the fields of virtual reality, animation, interactive softwares, and artistic games via the Internet, computers or smartphones to respond to the call. Likewise, those who emphasize the use of the moving image in their installations or live performances. Curators and institutions involved in the production and distribution of video art and experimental film are encouraged to submit their programs. The festival’s program takes the format of a series of showcases, accompanied by talks and discussions with active video-makers and curators to tackle some of the key themes and issues addressed in the works.

Guidelines and conditions

Individuals, groups, curators or associations are invited to participate.
The number of entries by one author is limited to two works. Please note that you must submit a separate application form for each work submission.
Feature films, documentary or commercial videos are not accepted.
The work should be produced after January 2021, and should be no longer than 30 minutes of duration.
Attach 3 high resolution video stills for each submitted work.
All moving image works under the categories of video art and experimental film, including new media art like interactive video, VR, CGI, etc. are accepted.
The festival team and committee will make the selection of the 11th edition program.
All applicants will be notified of the status of their applications via email in August 2024. The organizing crew has the right to use the participants’ data in any relevant publications and PR materials and for promotional purposes, with reserved copyrights.
All works submitted will be included in the festival’s video archive, and may be screened for retrospective research and/or educational (in no case commercial) purposes in the various screenings. Medrar will not screen any works to the public, give, sell or rent copies to other institutions or private persons interested without written consent by the producer of the video.
Videos with narration in languages other than English and Arabic should have English or Arabic subtitles.
Videos missing the festival application form will not be regarded for entry.
The submission of the application form designates the acceptance of the terms and conditions of participation in the 11th Cairo Video Festival, and a declaration that the applicant holds all rights to the submitted material or has the permission of the legal owner of the rights to the submitted material (pictures, sounds, texts)

Online Submissions

Video files and stills should be uploaded to Google Drive (or other similar websites with no expiry date for downloading files). Please include the .srt file. Your videos must be submitted as only screening copies in the best available quality (H.264 video format).

Fill in the online application form below and copy then paste the download link inside the online application form (we advise you to start the upload online process before you proceed with filling in the application form).

More details
https://www.cvf.medrar.org/call-for-submission-for-the-11th-cairo-video-festival/

Please contact cvf@medrar.org for further inquiries

Deadline: 29 May 2024
Call for entries

Open Call Genius Loci Festival 2024

Dates & location of event context
30.08.24 – 01.09.24 Buchenwald Germany

“It’s that time again, the competition for this year’s Genius Loci
Festival in Weimar 2024 officially starts today.

The festival will take place from August 30 to September 1 and artists
can submit their work until May 29, 2024.

The three winners will receive a total of €30,000 in prize money and
their work will be shown at the festival.

You can find more information about the competition and this year’s
special venue at:
https://www.genius-loci-weimar.org/en/competition.html

Mo entry fee

Contact adresses/URL
https://www.genius-loci-weimar.org/en/call-for-projects_en.html

Il 22 marzo negli spazi dell’Auditorium del Museo MAXXI di Roma, in una sala gremita di gente, Acqua Foundation ha presentato per la prima volta a Roma Nobilis Golden Moon, film di Maria Grazia Pontorno, artista che da tempo indaga il confine tra naturale e artificiale, inizialmente attenta alla sperimentazione digitale in 3D, da qualche tempo allargando il suo sguardo verso la ricerca al confine tra arte e scienza.

Nobilis Golden Moon è stato girato a cavallo tra due pandemie, due lune piene e due città: Valencia e Sant’Antioco. Il corto è stato presentato per Maritima01 e promosso dall’Associazione Culturale Art Made di Elena Posokhova con sede a Valencia, sviluppato in collaborazione con istituzioni come la University of Valencia, the French Institute, the EASD, the Nau or Carmen Center of Comteporanry Culture e con la partnership della Acqua Foundation.

La Pinna Nobilis è il più grande mollusco bivalve del Mediterraneo. La Pinna Nobilis, nota anche come “Sentinella del Mediterraneo” supera il metro di altezza, a rischio di scomparsa per una malattia pandemica. Da questo mollusco è ricavato il bisso, una fibra tessile utilizzata anche nell’antichità per tessere tessuti pregiati.

La prima tappa di Maria Grazia Pontorno, a Valencia, è scandita dal primo plenilunio. Qui un gruppo di scienziati cerca soluzioni per combattere l’ estinzione della Pinna Nobilis con il progetto LIFE PINNARCA che porta assieme ricercatori da tutta Europa. Jose Tena e Jose Rafael Garcia March, parte del progetto, raccontano come, attraverso lo studio di alcuni esemplari tenuti in cattività nelle vasche dei loro laboratori, cerchino di riprodurli in un ambiente protetto, oltre ad indagare quali fattori nelle componenti marine siano causa della loro estinzione.

La seconda tappa, del viaggio, in concomitanza con il secondo plenilunio, è a Sant’Antioco in Sardegna dove vive Chiara Vigo, l’ ultima sacerdotessa del bisso, che questo mollusco lo conosce meglio di chiunque altro al mondo. È qui e con lei che si conserva il segreto della sua lavorazione, raccogliendo il testimone dalla nonna. L’estrazione e la lavorazione di questo filo sacro porta assieme abilità artigiane e pratiche esoteriche. Entrare in questa lavorazione significa intraprendere un vero e proprio viaggio tra scienza e magia.

La sacerdotessa chiarisce l’importanza della presenza di questo mollusco, depuratore delle acque da impurità inquinanti chiarendo il suo interesse scientifico. La ghiandola sebacea che attraversa il mantello della Pinna Nobilis, spiega la sacerdotessa a Mariagrazia Pontorno, espelle una bava che a contatto con l’acqua marina si solidifica per diventare seta purissima. «Il bisso è l’anima dell’acqua e l’uomo senza acqua non può sopravvivere», dice Chiara Vigo nei toni di una profezia. Il racconto si dispiega attento a non liberare nessuna traccia del segreto che lega la lavorazione del bisso ad una tradizione orale tramandata in un passaggio che avviene in un rituale elettivo esclusivo. «La trasmissione orale è fatta di anima che si coltiva in una vita intera. È un’anima che cresce con piccole cose grandi gesti, situazioni che gli altri non devono capire, segreto fra nonna e nipote».

Con questo dialogo dove scienza ed esoterismo convergono nella magia della tradizione e del paesaggio sardi, il film arriva al suo ultimo capitolo. Il viaggio non finisce. Prosegue tra tutto ciò che il film portato alla nostra conoscenza: la Pinna Nobilis, l’importanza del suo ruolo nell’ecosistema, la sua trasformazione nella vita inanimata degli oggetti, come i tessuti ricamati con il sacro bisso. Il film è l’incontro tra uomo e natura, tra arti e scienza, il tutto sigillato da un rituale intriso di conoscenza, esperienza e magia.

Mariagrazia Pontorno, Nobilis Golden Moon, (Volume I della Trilogia del Pensiero Magico), 2020

Il film è stato prodotto da Acqua Foundation e Maritima01

immagini (tutte): Mariagrazia Pontorno, Nobilis Golden Moon, 2020, fermo immagine da film, 50′

L'articolo Nobilis Golden Moon proviene da Arshake.

Deadline: 20 April 2024
Call for entries

Marrakech Short Film Festival
27 september to 3 oct 2024 in Marrakech/Morocco

Call – outlining text
The Marrakech Short Film Festival’s fourth edition is looking for short films by Moroccan (for its national competition) and international filmmakers at any stage of their career.

There are no restrictions regarding year of production/release, submissions must be 20 minutes max and under English subtitles. Selected films will be screened during last of week of September in different open air venues.

entry fee – no

Contact adresses/URL
msffsubmissions@gmail.com
http://marrakechshortfilmfestival.com/

the link
https://docs.google.com/forms/d/e/1FAIpQLSfVoIJGirx74pdLeJX1JG81vt-kOEcyUQ3ww2AemutvjSiJ4A/viewform?usp=sf_link

Deadline: August 01/ 2024
Call for entries

Open Call!
AVAF edition 5
Addis Ababa, Ethiopia

Theme: (Re) Cover Story

Daily front pages across platforms circulate crisis, desperation, and disasters, fueling division and despair. Our focus fragmented, analysis paralyzed, we struggle to discern urgent news from narratives designed to mask them. War, post-pandemic economic doom, scarcity, conflicts, inflation, deficit, unregulated AI, climate apocalypse, displacement and new wars broadcast a hopeless reading of our times.

Within these turbulent currents, can art recover our stories and be a healing device to envision possibilities, will, and connectedness? What potential does video art hold to reframe these realities? Addis Video Art Festival seeks works that examine these current conditions and related topics with open artistic input.

Regulation and Guidelines
– Open to national and international artists
– Submission deadline August 1, 2024
– Free Submission
– Single-channel videos only
– Works must be created within the past 3 years
– If the work uses a language other than English, it must be subtitled in English
– Maximum duration 15 minutes
– Up to two works may be submitted per artist/ requiring a separate entry form per submission
– Selected artists will be notified by September 1st at which point a screening copy will be requested

Entry link: HERE
https://forms.gle/yvXWX42JHm8yVyjK7

No entry fee: Free submission

Contact adresses/URL:
http://addisvideoartfestival.net
contact@addisvideoartfestival.net

extended Deadline: 7 October 2024
Call for entries

animateC’24 – Cologne Art & Animation Festival (aC24)
@ Alphabet Art Centre Cologne January /February 2025

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 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 and 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 invited to present the selection at TAM – Torrance Art Museum Los Angeles/CA // 18 January-1 March 2025 as a part of The Foundation Screening Series by The New Museum of Networked Art – in this way the deadline had been extended to 07 October 2024

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.

The New Museum of Networked Art
Alphabet Art Centre
http://alphabet.nmartproject.net

Deadline: 06 March 2024
Call for entries

2024 OPEN CALL FOR ENTRY !
The 31st Women Make Waves Int’l Film Festival,
presented by Taiwan Women’s Film Association, will be held in Taipei, Taiwan in October, 2024. We are now accepting international submissions for our upcoming edition!

-Eligibility-

– Directed at least by one female (including self-identifying female) director. For Queer films, filmmakers of all genders are welcome.
– Completed no earlier than 1st March 2022.
– A Taiwan Premiere is required.
– WMWIFF is open to all forms, styles, lengths, and formats. Anything related to LGBTQI+ communities, women themes and topics related to gender, feminism and beyond, and current events around the world that reflect the status quo.

-Entry Fee and Deadline-

– USD$15 or NTD$450.
– The deadline for submission is 06 March 2024.

-How to Submit.

– To submit, please make sure to read the guidline (https://www.wmw.org.tw/en/title/942) first, and fill in our entry form (https://www.wmw.org.tw/submission/internation).
– Or, the entrants can also submit via Filmfreeway (https://filmfreeway.com/WomenMakeWavesFilmFestivalTaiwan)
– Please note that for the film submissions, entry fees are required. Your entry will only be accepted if WMWIFF receive complete entry form (including valid screeners) AND entry fees on time.

-About Us-

Established as a non-profit organization in 1993, Women Make Waves International Film Festival, Taiwan has been one of the major film festivals in Taiwan and has established itself as the biggest one dedicated to supporting female talents. WMWIFF aims to celebrate the achievements of outstanding female talents, to explore different aspects of women’s lives as well as to promote equality and rights of all genders. By covering a wide range of genres, issues, and representations of women, WMWIFF seeks to promote great cinematic arts by female directors and to advocate gender equality through films with feminist consciousness and various subjects.

More info on
https://www.wmw.org.tw/en/title/942

Deadline: 31 March 2024
Call for entries

OPEN CALL
Affective Territories Alternate Belonging

Prospect Art’s 4th WALL—a network of international organizations that promote video works—is currently looking for video works for our 2025 programming, “Affective Territories, Alternate Belonging.” Entries will be considered for physical exhibitions in Los Angeles and Lisbon, and on-line screenings through Prospect Art, a not-for-profit arts organization based in Los Angeles. Selected works will be provided a screening fee and may be included in other opportunities within the network in the future .

We are looking for visual artists at any career stage that work in the medium of video from anywhere in the world. The works can be experimental, non-narrative or narrative as long as they are in the realm of video art, are conceptually based, and relate to the theme of the show, co-authored by Prospect Art’s Curatorial Fellow Prima Jalichandra-Sakuntabhai, and Prospect Art’s 4th-Wall Program Manager Pedro Inock.

Affective Territories Alternate Belonging

We are seeking video works that challenge traditional notions of belonging beyond colonial borders. We welcome submissions of works with an emphasis on countering hyper-mediatization in the post-internet era, works that question the true nature of our globalized society, that explore emotional connections to land, ancestral memory, and communities beyond conventional boundaries. This open call advocates rejecting digital orthodoxy. It invites video works that explore the subtle “line” of affective territories, aiming to redefine globalization through interpersonal connections while highlighting the significance of tenderness and belonging in a post-digital society marked by network individualism.

REQUIREMENTS

Single or Multi channel works will accepted.

Only works created in the last 2 years will be accepted.

Multiple entries are accepted, please fill out one form per entry.

We ask for a $10 administrative fee per entry to apply .

Please use PayPal and send the funds to ProspectArtProject@gmail.com, or use the QR code below. As a small artist run not-for profit the fee helps us offset the cost of administering the open call (if the fee is not manageable please email 4thwall@prospectart.org for a waiver.)

Artists need a PayPal account to receive screening fees if selected.

FREQUENTLY ASKED QUESTIONS can be found here

https://www.prospectart.org/4th-wall-2024-open-call-1

Previous 4th-Wall Exhibitions

https://www.prospectart.org/performing-time

Please prepare the following and submit through the google form below:

https://www.prospectart.org/4th-wall-2024-open-call

– Artist statement (250 words)

– CV

– Link to video work (with password) only Vimeo/YouTube links on private channels or to a personal website

– Description of work in relation to the theme described (200 words)

– Link to personal website and social media handle

DUE DATE

Applications are due March 31, 2024, at 11:59 PST.

You can direct further questions to : 4thwall@prospectart.org

Deadline: 1 February 2024
Call for entries

ReWilding: Experimental Media-Arts Festival
April 3rd Western Michigan University in the Richmond Center of the Arts at the Frostic School of Art.

The inaugural ReWilding: Climate-Focused Experimental Media-Arts Festival seeks experimental climate-focused films, video art, and animations – works that move beyond documenting issues to engage audiences and spur activism.

The festival will coincide with Western Michigan University’s (WMU) Climate Emergency: Spring into Action 2024 hosted by the WMU Climate Change Working Group.

Potential topics include but are not limited to:

Imagining climate futures

Highlighting environmental injustices

Exploring personal and community climate impacts

Inspiring change through unconventional storytelling

Staying with the trouble, or how to live on a ruined planet

Second Nature

Non-Human Politics

Internet of Animals

ReWilding: Climate-Focused Experimental Media-Arts Festival aims to present works and to incubate a community for artists and change-makers taking bold creative risks on climate themes rarely shown in mainstream media.

We encourage artists worldwide to use their creative tools to produce unconventional moving images that can shake audiences out of inertia and get people engaged. Please submit your moving images through the FilmFreeway listing. Please include an artist statement, bio, 1-3 video stills, and a link or uploaded file.

Submissions will be curated by Eric Souther, Jacklyn Brickman, and the WMU Audio Visual Student Club. Submit here Free, Due Feb 1, 2024:
https://filmfreeway.com/ReWildingEMF

No entry fee –

Contact adresses/URL
https://filmfreeway.com/ReWildingEMF

call for entries
Deadline: 9 April 2024 – regular deadline

Call 2024
Ibrida, festival of Intermedia arts is launching an open call for the 2024 edition. Ibrida Festival will be held in September 2024 in Forlì (Italy).

Ibrida is a festival of intermedial arts which started in 2015 for the purpose of investigating and divulging the most recent productions and research carried on in the field of experimental audiovisual (video art, found footage, metacinema, 2D and 3D animation, etc.). The festival naturally includes performance art and electronic music. Ibrida Festival is curated by Vertov Project.

Regulations

– Works shouldn’t be older then 2021

– Deadline: February 1, 2024 Earlybird Deadline – April 9, 2024 Regular Deadline

– Each artist may submit up to 3 works, also in different media.
– Submission form FilmFreeway
– The festival doesn’t pay any fees for the projection of the video.
– For the live cinema and AV performance the festival offers: fee, food and accommodation during festival, travel and expenses support. Invitation letter, under request.
– 2024 Two special International Prizes for video art and different special mentions.

What we are looking for:

Video Art – Experimental Film (max. 15 minutes)
Live Cinema & Music ( min. 25 – max 40 minutes)
Augmented Reality – Virtual Reality (preview online)

https://ibridafestival.it/
ibridafestival@gmail.com

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/

extended Deadline: 31 March 2024
Call for entries

The Anthropocene Project

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 Anthropocene Project as a new media art context in an exchange between virtual and physical space, physical and virtual exhibitions and screenings, is inviting artists using moving images/digital video as medium of art to submit videos dealing with the (positive and negative) human impact.

Please use the following entry form for submitting videos only which have not been submitted before and use for each submitted video a separate entry form.

The New Museum of Networked Art
Alphabet Art Centre
http://alphabet.nmartproject.net

Deadline: 18 May 2024
Call for entries

Braziers International Film Festival
Aug 30 – Sept 1, 2024, Braziers Park, Oxfordshire, UK

The 6th Braziers International Film Festival is open for submissions. We welcome films of every genre, but with a focus on experimental shorts and artist film.

Running over three days, Braziers International Film Festival features a diverse and dynamic programme of international films, screened in the unique and historical setting of Braziers Park School of Integrative Social Research, one of Europe’s oldest ‘intentional communities’. Films are projected to audiences in a cinema-style environment, with screenings, workshops and special events taking place inside a large, historic 17th century barn. The curated programmes are selected by a team of artist-filmmakers, who have a particular interest contemporary artists’ moving image work, but who are also looking for a diverse range of films in any genre. Film-makers who are selected will be invited to Braziers, and offered full accommodation for the festival duration.
Entries are open to both the UK and international filmmakers.

entry fee: $12
Contact: braziersiff@gmail.com
submissions: https://filmfreeway.com/Braziers

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: 21 May 2024
Call for entries

Video Art Festival in Virtual Reality
is currently an online virtual 3d event produced by non-profit association ZMO – Zusammenarbeit mit Osteuropa – Regionalverband Dresden e.V. (Germany) creative center “Omnibus”*. Its purpose is to celebrate fine art filmmakers and their unique visions in experimental and fine.

*ZMO – Zusammenarbeit mit Osteuropa – Regionalverband Dresden e.V. are many charitable projects under this umbrella. Art, culture and creativity contribute a lot to international understanding on site.

DEADLINE for submissions: May 21, 2024
EXHIBITION DATES: June 1 – June 30, 2024

We want to bring filmmakers from around the globe together in a unique way in order to showcase and enjoy films in the experimental, fine art, video art, animation and avant garde genres that many have never seen or heard of.

Awards & Prizes
First place -DIGITAL Certificate
Second place- DIGITAL Certificate
Third place -DIGITAL Certificate
Fourth place -DIGITAL Certificate

Rules & Terms
All Films must be experimental in nature. This can be abstract, or
narrative. We also accept works of video art, experimental films, experimental animation, experimental music video.

To be shown at the festival, you must provide us with a YouTube link at unlisted (Anyone with the video link can watch your video) or Public (Everyone can watch your video).

• Entry Fees are non-refundable
• You may submit for multiple categories, but each Submission requires an entry fee
• Content Submitters must be 18 years or older
• No Pornography
• No Nudity

• Submissions must be the intellectual property of the submitter, and/or their team. No proxy submissions are allowed. By submitting to Video Art Festival in Virtual Reality, you confirm that you hold the rights to (or are authorized to use) any and all audio and video in your experimental film.

Categories are:

• Experimental Short
• Video Art
• Experimental Animation
• Еxperimental Music Video

https://www.gallery-omnibus.com/opencalls
submit on https://filmfreeway.com/3dvideoartfestival

Deadline: 30 April 2024
Call for entries

Laterale is an international non competitive Festival of cinematic art organized by Associazione Culturale Laterale. Its aim is to enhance the most innovative aspects of audio-visual languages of the contemporary scene and to reduce the distance between artistic research and public involvement. Particular attention is given to young and independent filmmakers and to self-made no-budget works, as result of individual search.

The eighth of Laterale will take place in Cosenza (Italy), at Cinema San Nicola, in August 2024. The Festival promotes a free and stimulating project of sharing, that shows what usually is neglected or rejected because of the distance from the conventional way to do and to interpret the cinema. A space that breaks down barriers and prejudices, massification and standardisation, a space that wants to become an artistic laboratory where it is possible to discover now the cinema of the future.

Call for Entries 2024

1) Short films of all genres, styles and narrative forms are allowed, released from January 1st 2022.
2) Films must have a maximum length of 20 minutes (with credits).
3) Films can be exclusively submitted by using Filmfreeway.
4) Seven deadlines are provided.
5) In no case the registration fee can be paid back; it has to be considered a contribution to Associazione Culturale Laterale for the realization of the event.
6) Films†selection is curated by the festival artistic direction; the notification of selection has to remain confidential until the announcement of the programme.
7) Once selected, films cannot be withdrawn from the festival.
8) Some frames of the selected films might be used for promotional purposes of the festival.
9) The selected films join the archive of Laterale Film Festival; they are not commercially exploited to protect the interests of the authors and of the production. The organisers commit themselves to use the films only for cultural purposes.
10) The festivalâ€s direction reserves the right to include in the Lateral Selection those films that slightly exceed the scheduled time limits but that can be considered significant for artistic values.
11) The participation to the festival implies the total acceptance of the present regulation. The artistic direction has the final judgement on controversial cases.

Submissions via
Filmfreeway: https://filmfreeway.com/lateralefilmfestival

Website: https://www.lateralefilmfestival.com/
Email: lateralefilmfestival@gmail.com

FB: https://www.facebook.com/lateralefilmfestival
Instagram: https://www.instagram.com/laterale_film_festival

Deadline: 8 March 2024
call for entries

2024 West Virginia Mountaineer Short Film Festival

2. Deadline:
March 8, 2024

3. Dates & location of event context:
April 19 & 20, Morgantown, West Virginia, USA

4. Call – outlining text
The West Virginia Mountaineer Short Film Festival invites submissions to its 2024 edition which takes place April 19 & 20, 2024. Weâ€re looking for unique, boundary-pushing works in video, animation, and film.

SUBMISSION CATEGORIES:
•     Experimental
•     Short Narrative
•     Documentary
•     Animation
•     Student Work
•     AI and Art (works made with or about artificial intelligence)
•     Performance, Video Installation, Expanded Media

Theme: AI and Art
In addition to the standard categories listed above, we invite time-based works that explore or that are made with Artificial Intelligence. As AI finds its way more and more into our lives, into art, and into the public discourse, we would like to use this opportunity to question and imagine its impact in all of these contexts. Works submitted in this category are not bound by genre or medium (experimental, performative, narrative, documentary… etc.) as long as they involve the use of AI to some degree in their production. Submissions can also include works that critically address issues related to AI in an investigative, critical, or expressive way. The submitter should indicate the workâ€s connection to these topics in the project synopsis or description.

Performance and Media Exhibition:
We also invite submissions to a one-day media and performance exhibition to take place in the Falbo Theater of the Canady Creative Arts Center that interrogate the relationship between the body and technology, intimacy and telepresence. Submissions may include theatre, dance, sound, or other performance works that incorporate audiovisual media. These might include remote, online or otherwise telematic performances. They might include augmented or virtual reality performances. They might include in-person performances involving media. Works may utilize tools like motion sensors, projection, live or fixed media in the engagement with the festivalâ€s theme. Please submit a brief document with your submission describing concept and technical descriptions/requirements. Direct inquiries to wvmsff@gmail.com

REQUIREMENTS/AGREEMENTS:
Maximum running time of 15 minutes. Works must have been completed after January 1, 2022. 10$ per entry. Students: Free – with valid, current ID. Maximum of 2 entries per person. Separate entry form and fee required for each entry. Applicants agree to allow festival organizers use of accepted works for all promotional materials and events. Deadline for entry: March 8, 2024. Artists whose works are accepted will be notified on or before March 18, 2024.

General Entry fee: $10
Students: FREE (with valid, current ID)

Contact: wvmsff@gmaill.com
URL: https://www.wvmsff.com
Submissions: https://www.filmfreeway.com/TheWestVirginiaMountaineerShortFilmFestival

 Video art call - sustainable views

The call is addressed to Italian and International artists involved in video making, who want to propose a creative view in terms of environmental sustainability and responsible recycling.

The aim is to provide ideas for a sustainable lifestyle through the videodocumentation of solutions already in place, or to approach the issues of environmental sustainability (including recycling and waste disposal) with a proactive, utopic and positive view, in order to stimulate reflection on climate change.

The contest is addressed both to individual artists and to collectives.
Each artist/group of artists can submit one single video.


No entry fee


PRIZES
Artistic Residency Prize: promoted by Cittadellarte - Fondazione Pistoletto.
A week long residency with Unidee (University of Ideas).
The winner video will be projected at events and exhibitions in accordance with
Cittadellarte - Fondazione Pistoletto.

Workshop Prize: promoted by PAV - Parco Arte Vivente.
Two workshops with artists from the PAV art program.
The winner will be allowed not only to participate at the workshops, he/she will
also be allowed to film them.

The winner video will be projected at events and exhibitions in accordance with
PAV Parco Arte Vivente.

Exhibition Prize: promoted by Espronceda - Institute of Art & Culture
The two winners will also have the opportunity to show thier videos during an
exhibition at Espronceda - Institute of Art & Culture, under the Collettivo IF
curatorship.

The two winners will be awarded publicly during the event “Dove lo getto? -
Quello che devi sapere sul monouso compostabile e il riciclaggio”, in a ceremony
that will include the projections of their videos.

(S)HE DEVIL, la tredicesima edizione della rassegna SHE DEVIL, inaugura allo Studio Stefania Miscetti domani, 19 marzo,  e prosegue fino al 24 maggio 2024. L’iniziativa propone in via eccezionale una selezione di opere prodotte esclusivamente da video-artisti e accomunate dalla capacità di fornire spunti di riflessione e suggestioni sul patriarcato, inteso come sistema relazionale di potere e dominazione.

Il discorso polifonico sviluppato da Stefania Miscetti e dal collettivo curatoriale nasce nella seconda metà del 2022, quando la discussione sul patriarcato non era ancora così ricorrente nel dibattito pubblico in Italia. Prende origine dalle notizie e dalle immagini che ci sono giunte dalle proteste iraniane, ed in particolar modo dalla dimensione condivisa e collettiva che hanno assunto, per poi interrogarsi sulle possibili pratiche di autocoscienza maschile e le conseguenti prese di posizione e responsabilità, soprattutto in tema di violenza, agìta e subita.

Citando Francesca Pasini, che a sua volta fa riferimento al concetto di “fratrie” di Lia Cigarini, ora che stiamo facendo esperienza del «crollo dell’ordine simbolico patriarcale» gli uomini «dovrebbero indagare la propria differenza e da lì andare a confronto con l’altra da sé. Questa è l’opera nuova per correggere “il presente disordine” e non spetta solo alle donne». In tal senso, nonostante la diversità della narrazione che per la prima volta si attua attraverso lo sguardo maschile, SHE DEVIL ribadisce la sua coerenza concettuale attraverso tematiche e scelte curatoriali, inevitabilmente ed intrinsecamente connesse alle ricadute del sistema patriarcale in ambito femminile. In questo modo, attraverso il medium video si mettono in luce ed in questione i molteplici aspetti strutturali, sociali, politici, economici della mascolinità egemonica, intesa come costrutto storico e culturale ma anche come insieme di pratiche che hanno permesso la perpetrazione di coercizione e sopraffazione.
Come da tradizione, l’edizione di quest’anno trova il suo spirito guida nella ricerca di un artista di fama internazionale, quest’anno l’artista Alfredo Jaar, che in qualità di “Good Father” dell’edizione presenta l’opera video del 1996 A Short Film on Monstrosity.

Inoltre, a coronamento delle due edizioni fuori “canone” della rassegna – oltre a quella corrente, la dodicesima, dedicata alla fluidità – sarà prodotta una pubblicazione edita da CURA., estensione del libro realizzato dalla stessa casa editrice e presentato al MAXXI nel 2019. Il volume sarà presentato nella primavera 2024 presso lo spazio Basement di Roma.

(dal comunicato stampa)

 (S)HE DEVIL 13, Studio Stefania Miscetti, Roma, 20.03 – 24.05.2024

SHE DEVIL nasce nel 2006 da un’idea di Stefania Miscetti, coinvolgendo artiste e curatrici sia italiane sia internazionali, dalle più giovani alle più affermate. Le varie opere e le differenti prospettive critiche convivono all’interno di un discorso a più voci, in cui emergono le molteplicità dei mondi e delle visioni femminili.

SHE DEVIL, nome di un’eroina della Marvel e titolo del famoso film del 1989 di Susan Seidelman, allude in modo giocoso allo spirito diabolico e bizzarro con cui l’esperienza artistica indaga e attraversa il quotidiano. I video si focalizzano su una ricerca al femminile e mettono a diretto confronto i diversi percorsi di indagine. Scopo dell’iniziativa è di sollecitare, a volte con ironia, a volte con realismo, la coscienza collettiva su temi come l’identità femminile, il corpo come luogo di rappresentazione e significato, l’esperienza personale che assurge a dimensione universale anche quando è l’intimità delle artiste ad essere portata in primo piano.

Dopo le prime due edizioni, del 2006 e del 2007, che vedevano coinvolte rispettivamente quattro e sei curatrici (ed altrettante artiste), dal 2009, con la terza edizione, Stefania Miscetti decide di coinvolgere un maggior numero di curatori. Il successo dell’iniziativa è in quell’anno confermato dall’edizione speciale internazionale tenutasi al Museo d’Arte Contemporanea MNAC di Bucarest. Nel 2010, invece, dopo la quarta edizione del progetto, SHE DEVIL partecipa alla mostra La Follia dell’arte durante il Festival di Ravello. Nel 2011 la quinta edizione del progetto viene presentata al Museo d’Arte Contemporanea MACRO Roma. Nel 2014 è stata realizzata la sesta edizione, confermando un’attenzione costante da parte delle più importanti testate di informazione.

Nel 2015 oltre alla settima edizione, si sono tenute la prima e la seconda tappa di SHE DEVIL on tour, a Terni presso la sede espositiva di Palazzo Primavera, e a Belfast (UK) negli spazi della Golden Thread Gallery. Nel 2016 si sono svolte l’ottava edizione e SHE DEVIL. Leipziger Edition: Home, alla Galerie KUB. Nel 2017 SHE DEVIL on tour approda in Lituania, presso la Galleria Nazionale d’Arte di Vilnius e presso la sede della galleria si svolge la nona edizione. Nel 2018, oltre alla decima edizione, sono state presentate selezioni della rassegna presso l’Istituto Nazionale della Grafica di Roma e presso il Centro per l’Arte Contemporanea Luigi Pecci. Nel 2019 oltre a SHE DEVIL 11 viene presentato il catalogo che racconta le undici edizioni di SHE DEVIL, pubblicato da CURA. edizioni. Nel 2021 si è tenuta presso la videogallery del MAXXI la dodicesima edizione S_HE DEVIL, e nel 2022 presso lo Studio. Nel 2023, nel contesto della quarta edizione della biennale internazionale d’arte contemporanea BIENALSUR, un’edizione speciale di SHE DEVIL si è tenuta al MUNTREF Museo de Artes Visuales di Buenos Aires, dove insieme a un’inedita selezione Argentina sono stati presentati oltre cinquanta video provenienti dalle passate edizioni.

L'articolo (S)HE DEVIL 13 a Roma proviene da Arshake.