Deadline: 15 January 2025
Call for entries

Open Call “TRANSFORMERS”
TRANSFORMERS. Sustainability players

Exhibition with program in Berlin 28.2. 7 pm – 11.4.2025, 7 pm, Tue. and Fri. 5-8 pm

In a public call for entries, we are inviting international artists to submit contributions for the theme described below for a group exhibition in our exhibition spaces.

The climate crisis and the extinction of species are progressing. Humanity is aware of the risks to its future, but is too slow to transform its behavior, politics and economy towards sustainability. After Group Global 3000 2024 exhibited the slowing actors, we are inviting artists worldwide in an open call to submit their works on the theme “TRANSFORMERS. Actors towards sustainability.”. TRANSFORMERS are accelerators of the transformation towards a regenerative society that preserves species. They can be activists against the climate crisis, against the extinction of species, to save resources, politicians, craftsmen, citizens, pupils, students, farmers, artists. Who is that? Is it you? What do they do, what are their tools? We would like to see images, objects, performances and videos that make the sustainability actors visible and animate them.

Disciplines: object, sculpture, installation, photography, painting, drawing, printmaking, video with credits given, sound is possible. A performative contribution such as a performance, VJ or similar to the vernissage, artist talk or finissage is desired.

International works: letters and videos from non-EU countries.

We offer exhibition space with equipment, bar, advertising by mail and div. Websites and social media and web and print flyers, curation and co-curation. We do not charge a fee for application, exhibition etc. We are a free, self-organized project space and work on a voluntary basis. For sent works, we ask that senders include the return postage. Unfortunately, there is no budget for production, further technical equipment, transport and insurance (the room is technically secured). We expect good cooperation and agree on rules of cooperation, gg3 rules rules 2022, pdf.

Individual artists or existing artist groups can apply online with max. apply for three works.

The presence of regional artists is desired for the vernissage and the artist talk, as well as for the supervision of the exhibition.

Deadline 15.1.2025, 24 h
Jury final meeting 23.1.2025
Exhibition setup 27.2.2025, 3-7 p.m.
Opening 28.2.2025, 7 p.m.
Exhibition duration 28.2. – 11.4.2025

Further information: https://gg3.eu/en/the-transforming-actors-for-sustainability/

Click here for the online application form

Jury: Team GG3, Curator: Tom Albrecht, Co-curator: Katja Hock

Address: Leuschnerdamm 19, D 10999 Berlin
https://gg3.eu/en/

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 in the system and you have received a confirmation e-mail.
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 e-mail?
A: Application by mail is not possible due to the work of the jury.

Deadline: 31 December 2024
Call for entries

Mail Art – LET’S PLAY
Dates & location of event context » exhibition 2025 // precise date
to be set further on // LOCATION »
Quinta da Cruz – Centro de Arte
Contemporânea | Estrada de São Salvador | 3510-784 São Salvador | Viseu, PORTUGAL

In 2024, VISEU values healthier and more
active habits and routines, promoting a happier and more balanced
lifestyle. With this mission in mind, the city is committed to
encouraging the community to adopt practices that improve physical and
mental well-being. The VI CALL, with the theme VAMOS A JOGO (LET’S
PLAY), invites everyone to take part in this artistic initiative that
aims to inspire and motivate the population to integrate sporting and
recreational activities into their daily lives.
We invite artists and anyone interested in mail art [mailart] to send in
their works to take part in the 6th edition of this call. Only works
received via traditional mail will be exhibited. We look forward to
receiving drawings, collages, stamps, visual poetry and other creative
formats at
Quinta da Cruz – Centro de Arte Contemporânea de Viseu.

entry fee – no
Contact adresses/URL »
https://quintadacruz.mailart.pt/
mailart@mailart.pt

Winter Workshop with Patrícia Hastewell and Noé Ferey ‘Passeggiata danzata – Partnering’ in Barcelona. Where: Nunart Guinardó, Barcelona, Spain When: January 4th and 5th, Saturday and Sunday, from 10 a.m. to 1 p.m. Deadline for applications: January 3rd 2025 This is a workshop of improvisation, partnering, and contact. We propose tools to expand our dance with a partner. We will share a physical vocabulary of weight, explore contact points, […]

The post Workshop with Patricia Hastewell and Noe Ferey ‘Passeggiata danzata – Partnering’ first appeared on Dancing Opportunities.

Winter Workshop ‘Groundwork and Partnering’ with Roser López Espinosa in Barcelona. Where: Nunart Guinardó, Barcelona, Spain When: December 27th to 29th, from 10 a.m. to 2:30 p.m. Deadline for applications: December 26th, 2024 Groundwork and Partnering This workshop offers technical training focused on movement rooted in an articulated, supple, agile, swift, and powerful body. We’ll use the richness of spinal movement as our […]

The post Groundwork And Partnering Workshop with Roser Lopez Espinosa first appeared on Dancing Opportunities.

ITSLIQUID Group, in collaboration with ACIT Venice - Italian-German Cultural Association, is pleased to announce the open call for the 20th edition of VENICE INTERNATIONAL ART FAIR 2024 that will take place from December 05 to December 20, 2024, in Venice, at Palazzo Albrizzi-Capello and in other prestigious venues and historical buildings.

Deadline: 15 March 2025
Call for entries

5 ARGUMENTS
Call for Mail Art Projects

In 2025, Ákos Székely, avant-garde artist, visual poet, a leading figure in Hungarian assemblage, mail art and fluxus, would have turned 80. The aim of this mail art call is to pay tribute to Ákos Székely’s life’s work and personality.

We are looking for works that reflect on the following theme: 5 arguments.

Ákos Székely considered it important to develop the debating skills and critical thinking of his students. Open debates took place in his classes on all literary and artistic questions. A fundamental rule was that participants had to support their points with 5 arguments.

Online sources about Ákos Székely:
Artpool https://artpool.hu/Poetry/soundimage/Szekely.html
Leopold Bloom https://bloomsday.hu/index.php/en/projects/leopold-bloom

– topic of the call: 5 arguments

– deadline: 15 March 2025

– size: A/5 (148 * 210 mm)

– no jury / no selection / no returning / no participation fee

– vernissage: 16 June 2025

– digital catalogue

– instagram: https://www.instagram.com/5arguments/

– address:
Péter Abajkovics, 1042 Budapest, Árpád út 153. V/15, Hungary

– further contacts: abajkovics@gmail.com
https://www.viragfold.net

Humanity & AI. The theme of this conference focuses on how to preserve the human complexity, with Generative Art and AI. Art, poetry, music, architecture, and historic cities need generative ideas for their adaptation to the deep new demands of our fast-changing time. Our field of interest is to identify these possibilities and relate the most advanced creative approaches of Generative Art and AI.

In a world dominated by military conflicts, climate change, migration crisis, fake news, and political rearrangements, the digital ecosystem – in which AI is one among other major actors – plays a crucial role. We, volens nolens, increasingly identify ourselves with the machine, while we employ various strategies of resisting the artificial. Art is an important part of this process.

From CAC.8, we propose a meeting to approach Generative AI from its multiple aspects, undoubtedly from a myriad of points of view, which will allow its inclusion in Art, Design, and Culture. We would like to create a symbolic capsule of space and time to reflect on the challenges, impacts, and scope of this new tool of knowledge, which is already modifying the processes of various human activities.

ITSLIQUID Group is pleased to announce the open call for the 12th edition of ROME INTERNATIONAL ART FAIR 2024, international exhibition of photography, painting, video art, installation/sculpture and performance art, which will take place in Rome, at ITSLIQUID Monti - Rome Art Space from December 06 to December 19, 2024.

ITSLIQUID Group, in collaboration with YMX Arts, is pleased to announce the open call for the 13th edition of LONDON CONTEMPORARY ART FAIR, which will take place in London, at ELEMENTS Contemporary Art Space from November 29 to December 11, 2024.

Deadline: Deadline 26 August 2024, 24 h (CET)
Call for entries

Open Call “Spin doctors”

Organized suppression of the climate crisis. Actors and their construction kit.

Exhibition in Berlin 11.10. – 22.11.2024, Tue. and Fri., 5-8 p.m.

In a public call for entries, we are inviting international artists to submit contributions for the theme described below: “Eye wiper. Organized repression of the climate crisis. Actors and their construction kit” for a group exhibition in our exhibition spaces.

Cognitive scientists have developed a toolkit called PLURV to help identify disinformation and propaganda in relation to the climate crisis: Pseudo-experts, logical errors, unfulfillable expectations, cherry-picking and conspiracy myths are all identifying features. Let’s expose PLURV!

One actor that promotes the suppression of the climate crisis is, for example, the Springer press. Their publishing house is largely owned by fossil fuel investors. The AFD and so-called “lateral thinkers” are also helping to suppress them. Narratives can be “It’s always been hot in summer”, “That’s a good thing!”, “Yes, just the weather”, “Fear-mongering and scaremongering”, “He who believes will be saved”, “Belief in man-made climate change is a substitute for religion?”.

In Germany, the CDU and FDP parties are conducting a textbook delaying discourse: they have no proposals. It’s really not about political ideologies, it’s about defending fossil business models.

Displacement leads to aggression against, for example, meteorologists on TV who receive hate messages. You only believe what you want to believe. Researchers talk about dissonant information being devalued and consonant information being valorized. The fact that humanity is in the process of destroying the foundations of human life with its way of life generates unpleasant emotions: Feelings of guilt, fears, sadness about the squandered future, the inevitable suffering and death. Cognitive dissonance, that is. Pseudo-information that suggests everything is not so bad can have a relieving effect.

Disciplines: object, sculpture, installation, photography, painting, drawing, printmaking, video with credits given, sound is possible. A performative contribution such as a performance, VJ or similar to the vernissage, artist talk or finissage is desired.

International works: letters and videos from non-EU countries.

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. For sent works, we ask that senders include the return postage. Unfortunately, there is no budget for production, further technical equipment, transport and insurance (the room is technically secured). We expect good cooperation and agree on rules of cooperation: https://gg3.eu/en/agreement-with-exhibiting-artists-2/

Individual artists or existing artist groups can apply online with max. apply for three works.

The presence of regional artists is desired for the vernissage and the artist talk, as is the supervision of the exhibition.

Deadline 26.8.2024, 24 h
Acceptance or cancellation until 5.9.
Set-up 10.10., 15-19 h
Vernissage 11.10., 19 h
Exhibition duration 11.10. – 22.11.2024

Further information: https://gg3.eu/en/open-calls/open-call-eyewash/
Click here for the online application formhttps://gg3.eu/ausschreibungen/submission.php?call=10&lang=en

Jury: Team GG3, Curator: Tom Albrecht, Co-curator: Katja Hock

Address: Leuschnerdamm 19, D 10999 Berlin
https://gg3.eu/en/

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 in the system and you have received a confirmation e-mail.
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 e-mail?
A: Application by mail is not possible due to the work of the jury.

VIDEO POST cattura Heaven’s Gate del video artista Marco Brambilla, opera di psidechedelia digitale concepita come meditazione sulla “fabbrica dei sogni” di Hollywood.

Marco Brambilla, Heaven’s Gate, 2021, Video: Lazaro Llanes

 

 

L'articolo VIDEO POST > Heaven’s Gate proviene da Arshake.

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.

Per il quinto anno consecutivo, il MEET Digital Culture Center di Milano riflette sugli scenari della creatività digitale con professionisti e artisti di spicco internazionale. L’obiettivo è quello di mettere in luce il potenziale delle sperimentazioni creative immersive come possibile driver di innovazione culturale, sociale, economica.

Come le realtà parallele create dal digitale possono convivere con le realtà in essere? Oltre le frontiere della Realtà Virtuale, proveremo ad immergerci in un’immersività sempre più diffusa e pervasiva, che crea commistioni sottili tra reale e virtuale: dall’Augmented Reality all’Extended Reality e Mixed Rality, incluse le potenzialità creative dell’Intelligenza Artificiale.

L’Atlas aprirà una serie di riflessioni per inquadrare il tema da tutte le sue sfaccettature e condividere con esperti, professionisti e con il pubblico, opportunità e futuri possibili.

La mappa disegnerà confini e frontiere delle esperienze immersive, i linguaggi e le correnti espressive che stanno disegnando nuovi modi per fare cultura, i luoghi e i protagonisti dell’immersività, i format e le modalità di coinvolgimento del pubblico con incontri  eventi.

The New Atlas of Digital Art | Immersive Realities, MEET Digital Culture Center, Milano, 20-21.06.2024

Consultate qui il sito per il programma aggiornato degli eventi e registratevi (gratuitamente) qui su Evenbrite.

 

 

L'articolo The New Atlas of Digital Art proviene da Arshake.

FRAME cattura il lavoro di Iness Rychlik, artista polacca con base a Londra: Art in the Age of Puritanism.

L'articolo FRAME > Art in the age of digital puritanism proviene da Arshake.

TTTfellows: Art and Science Residency is an hybrid artist and academic experimental project organized in three different seasons aiming to bring together one artist and one scientist for 4 weeks of interdisciplinary friction and Ionian environmental immersion. The organization offers accommodation in Corfu and a fee of approx. 1400 euros to cover expenses related with traveling and research, processed after arrival in Greece, to one scientist and one artist.

Deadline – 15 July 2024
Call for entries

Mail Art
Theme THE SAINT OF FOOLS
SIZE:MAX A4(21CM X 30CM)
TECHNIQUE: FREE

WORKS WITH VIOLENT, SEXIST, RACIST CONTENT ARE NOT ALLOWED

ONLINE DOCUMENTATION FOR ALL PARTICIPANTS ON THE DEDICATED FACEBOOK PAGE
ALL THE WORKS RECEIVED WILL BE EXHIBITED IN THE BEAUTIFUL TOWER OF THE MARCHESA (WOOD OF CALLISTRO DI BUTURO-CZ-ITALY)
SEND YOUR DRAWINGS, PAINTINGS, VISUAL POETRY… BY JULY 15, 2024 TO:

Claudio Parentela
VIA F.CRISPI 79
88100 CATANZARO-ITALY

SHELTER ISLAND è la mostra che si snoda tra gli spazi della Marina Bastianello Gallery di Mestre e Venezia e quelli istituzionali di M9 – Museo del’900 e del Distretto M9. Il progetto, che prevede la collaborazione intergenerazionale di due artisti – Fernando Garbellotto (Portogruaro, 1955) e Luca Pozzi (Milano, 1983), nasce dall’urgenza di viaggiare nello spazio e nel tempo dei linguaggi ibridando ricerca artistica e scientifica attraverso il format inedito della Meta-Conferenza in un periodo storico particolarmente sensibile ai temi della pace. La Mostra riconnette idealmente il pubblico ad un evento accaduto nel 1947 sull’omonima isola nei pressi di New York che vide riuniti tra i più celebri e visionari fisici teorici dell’epoca – nomi del calibro di Richard Feynman, John Archibald Wheeler, Edward Teller, David Bohm, John von Neumann, Hans Bethe, J. Robert Oppenheimer e Freeman Dyson – per discutere i problemi fondamentali della meccanica quantistica agli albori dell’invenzione della bomba atomica. Il Summit, ricordato dalla storia come il leggendario vertice di Shelter Island per l’appunto, fu il primo dopo la risoluzione della seconda guerra mondiale e diede il via a quell’atteggiamento di condivisione della conoscenza scientifica su cui poggiano ancora i delicati equilibri globali odierni.

In un presente post-pandemico caratterizzato da tensioni geopolitiche di carattere energetico, ideologico, economico e religioso, il progetto prende vita dalla rigenerazione di una rete relazionale incentrata sull’importanza della collaborazione e del dialogo come modus operandi e condizione Sine Qua Non.

Attraverso le opere di Garbellotto e Pozzi si è chiamati a prendere parte attiva al Summit del ‘47 che, tele-trasportato nel 2024 e convertito nella forma e nella sostanza, diventa installazione cross-disciplinare a più voci, tra cui spiccano quelle di Carlo Rovelli, Roger Penrose, Shoini Ghose, Raymond Laflamme, Katie Mack, Hildign Neilson, Savas Dimopoulos, Pedro Vieira e Neil Turok, che, con il loro contributo, ne ri-attualizzano i presupposti in chiave eco-sistemica.

Partendo da queste premesse la Meta-Conferenza avviene su una cometa digitale di 4 Km di diametro, all’interno di una GAME ENGINE in Virtual Reality chiamata “Rosetta Mission 2024”, opera di Luca Pozzi, la quale, accogliendo una PLAYLIST di PODCAST realizzata dal Perimeter Institute di Waterloo in Ontario, la ripropone simultaneamente non solo al pubblico in presenza al Museo del Novecento sotto forma di installazione visiva, ma anche sul Megaschermo digitale della Hybrid Tower di Mestre e sui monitor satellite del Distretto dell’M9, andando a costruire una rete delocalizzata di piattaforme di accesso ai contenuti prodotti per un pubblico più vasto e non specialistico.

Rete che include, nelle sue maglie, le due sedi della Galleria Marina Bastianello dove troviamo invece rispettivamente a Venezia una grande installazione a parete di Fernando Garbellotto, ispirata alle teorie di Benoit Mandelbrot ed incentrata proprio sul concetto di Frattale “La Rete come idea del mondo”, mentre Luca Pozzi occupa la galleria di Mestre con un ambiente interattivo composto da dispositivi magnetici a parete, sculture ingegnerizzate con rivelatori di particelle dell’INFN e una postazione di Realtà Virtuale per accedere ai contenuti della “Rosetta Mission 2024” da remoto.

(dal comunicato stampa)

Shelter Island, Marina Bastianello Gallery (e altre sedi), Venezia Mestre, 22.05.2022 – 24.08.2024

immagini: (cover 1) Luca Pozzi, «Rosetta Mission», 2024, fermo immagine da VR Game Engine in 4K, 2024. Neil Turok / Sulla semplicità della natura, estratto da Conversazioni sul perimetro  (2) Fernando Garbellotto, «Rete Frattale», 2024. (3) Luca Pozzi, «Rosetta Mission 2024» , VR station, tappeto stampato da collage digitale, Oculus Quest, motore di gioco unity. Photo credits: lucapozzi & marinabastianellogallery  (4) Fernando Garbellotto, «Rete Frattale», 2024 (detail).

 

 

L'articolo SHELTER ISLAND proviene da Arshake.

Tempo fa, il PAN – Palazzo delle Arti a Napoli, aveva annunciato la sua riapertura e indirizzo di programma con la sua struttura complementare nel Metaverso, il Metapan, e attraverso le progettualità di quattro artisti che rappresentano le diverse direzioni progettuali della programmazione futura, Bianco-Valente, Aureia Harvey, Chiara Passa, Quayola. Le installazioni virtuali sono accompagnate ora da una serie di lezioni per un ciclo di Masterclass aperte al pubblico (online) in corso di svolgimento da aprile a luglio 2024 con sei lezioni indirizzate a giovani laureati di diversi atenei italiani e di diversa formazione e con la partecipazione di alcuni tra i più importanti docenti ed esperti di arte e new media di rilievo nazionale ed internazionale – Francesco Spampinato, Professore di Storia dell’arte contemporanea, Università Alma Master Studiorum di Bologna; Andrea Pinotti, Professore di Estetica, Università Statale di Milano; Ruggero Eugeni, Professore di Semiotica dei media, Università Cattolica del Sacro Cuore di Milano; Elisabetta Modena, Ricercatrice in Storia dell’arte contemporanea, Università di Pavia.

 

Dopo aver incontrato Vincenzo Trione e Maria Grazia Mattei il 30 aprile e Francesco Spampinato il 9 maggio, il 23 maggio, ad incontrare studenti e pubblico saranno gli artisti invitati ad inaugurare lo spazio virtuale con le loro installazioni e approcci creativi, Bianco-Valente, Aureia Harvey, Chiara Passa, Quayola.

23 maggio, 2024. Sala virtuale del MetaPan. Incontro con Bianco-Valente, Aureia Harvey, Chiara Passa, Quayola: Link d’accesso al MetaPan

Prossimi appuntamenti:

4 giugno (17.30-19.00). Incontro con Andrea Pinotti, Università Statale di Milano: Teleimmagini. VR, AE e AI nello spazio pubblico e museale
17 giugno (17.30-19.00). Incontro con Ruggero Eugeni, Università Cattolica del Sacro Cuore Milano: Breve ma veridica genealogia delle estensioni della realtà 
4 luglio (17.30-19.00) Elisabetta Modena, Università degli Studi di Pavia. Ambienti immersivi. Dal Futurismo alla Virtual Art

Il METAPAN è un progetto digitale – finanziato dalla Città Metropolitana di Napoli e promosso dal Comune di Napoli in partnership con MEET Digital Culture Center, il Centro Internazionale per l’Arte e la Cultura Digitale di Milano, riconosciuto nel 2023 come museo da Regione Lombardia – è curato da Maria Grazia Mattei, Fondatrice e Presidente di MEET e Valentino Catricalà, curatore d’arte contemporanea, con la supervisione tecnica dell’architetto Giuliano Bora, che ha realizzato lo spazio all’interno della piattaforma immersiva tridimensionale Spatial.io. L’iniziativa si inserisce nell’ambito del programma Napoli Contemporanea, curato da Vincenzo Trione, consigliere del Sindaco di Napoli Gaetano Manfredi per l’arte contemporanea e le attività museali.

 

 

L'articolo MetaPan. Masterclass nel Metaverso proviene da Arshake.

Con una mostra a cura di Christiane Paul, il Whitney Museum of American Art ripercorre l’evoluzione di AARON, il primo programma di intelligenza artificiale sviluppato nei tardi anni ’60 da Harold Cohen per accompagnarlo creativamente nella sua pratica pittorica, adottato a collaboratore per stimolare conoscenza sperimentazione. I lavori sono attentamente selezionati e tracciano in maniera scientifica i momenti chiave di questo dialogo uomo-macchina. L’approccio curatoriale è cronologico e permette di attraversare il passaggio da analogico a digitale, la transizione da astrazione a figurazione, a metà degli anni ’80, e tutto ciò che questi passaggi ha comportato in termini tecnici e concettuali.

Il Whitney Museum è l’unico museo a possedere nella sua collezione versioni del software AARON che tracciano i diversi periodi di sviluppo di questo progetto e permettono quindi di ritracciare le diverse fasi di evoluzione del software e di questo dialogo cresciuto con una certa gradualità.

Harold Cohen ha stabilito con il software un vero e proprio dialogo. Ha iniziato con il fornirgli regole e conoscenze per quello che riguarda i principi base di colore, forma, composizione e dimensione, fondamenti che appartengono alla sua formazione di pittore. Il loro dialogo è cresciuto, con una certa gradualità. Da un primo ragionamento su disegno e colore attraverso delle regole formulate per vie analogiche avviato negli anni ’60 si è arrivati ai primi anni ’70, quando si presenta l’occasione e il giusto contesto per sviluppare il software AARON alla Stanford University’s Artificial Intelligence Lab.

Da questo momento in poi, percorso è proseguito per fasi, ciascuna un tentativo (sempre riuscito, a volte anche troppo) di spingere oltre i limiti dell’intelligenza artificiale. Ad un certo punto, Cohen si rende conto che la macchina è in grado di fare cose che prima non immaginava possibili. Quando impara a colorare i disegni, prima completati a mano dall’artista, arriva ad un momento di crisi. Non è la mancanza di cose da fare, piuttosto l’arenarsi della collaborazione tra uomo e macchina.  “I felt that my dialogue with the program, the very root of our creativity, had been abruptly terminated”, racconta in una conferenza del 2010 all’ Orcas Center.

Ecco perché centrale nella mostra al Whitney è la macchina riportata in vita per fare entrare i visitatori, anche online in streaming sul sito in alcune ore del giorno, nel processo di esecuzione delle opere. Il software “as a central creative force behind the artwork”. Non solo. In mostra anche tutta una serie di ephemera, come quaderni di appunti e disegni personali che fanno parte del momento di progettazione e di riflessione.

Oltre a celebrare un artista riconosciuto come pioniere dell’arte digitale, la mostra entra nel vivo di questo dialogo uomo-macchina, penetra i meccanismi del processo scandendo le tappe, aiuta a riflettere sul nostro rapporto con le moderne tecnologie di intelligenza artificiale con i programmi più recenti come DALL-E, Midjourney e Stable Diffusion.

“Harold Cohen’s AARON has iconic status in digital art history, but the recent rise of AI artmaking tools has made it even more relevant. Cohen’s software provides us with a different perspective on image making with AI,” dice Christiane Paul, Curator of Digital Art at the Whitney. “What makes AARON so remarkable is that Cohen tried to encode the artistic process and sensibility itself, creating an AI with knowledge of the world that tries to represent it in ever-new freehand line drawings and paintings. Watching AARON’s creations drawn live as they were half a century ago will be a unique experience for viewers.”

In questi ultimi anni, in particolare in coincidenza con la crisi pandemica e lo spostamento di interessi economici e culturali online, alcuni termini come arte digitale sono stati particolarmente inflazionati, confusi con strumenti digitali come i certificati NFts, o con progetti di grafica e design. Questo ha significato oscurare buona parte di quelle sperimentazioni che hanno scritto la storia della ricerca in questi ambiti per più di vent’anni.

Queste operazioni che attraverso le mostre facilitano conoscenza e consapevolezza sono particolarmente importanti. In parallelo al Whitney, si è mossa anche la Galleria londinese Gazelli Art House, proponendo, con la mostra “Refractoring (1966-74)”, una selezione molto accurata di lavori di Cohen che hanno tracciato momenti chiave della transizione tra il 1966 e il 1974, momento nodale del suo lavoro ma anche inizio di diffusione delle tecnologie nella società. Tra i lavori, anche Sentinel esposto alla Biennale di Venezia nel 1966, quando è stato invitato a rappresentare il Padiglione Inglese, momento di grande riconoscimento internazionale che non arresta la sua spinta creativa “that arises when the individual starts to question the unquestioned assumptions of his field and to act out of the scenarios that present themselves as a result”.

Alla riflessione pura sul rapporto uomo-macchina le mostre restituiscono parte di questa storia, la rendono comprensibile avvicinando i visitatori al processo nella sua vitalità. Gli incontri, alcuni disponibili online sul sito del Whitney, i documenti prodotti e il catalogo con contributi dei più importanti studiosi che il 9 maggio è stato presentato alla Gazelli Art House, seguiranno la fine delle mostre. Tutto questo ci fa riflettere anche sulla curatela delle mostre, quando tra gli obiettivi c’è anche  quello di garantire che i contenuti siano resi disponibili e accessibili ai visitatori, rispettivamente nella misura di un museo e di una galleria.

Harold Cohen, AARON, a cura di Christiane Paul, Whitney Museum of American Art, fino al 19 maggio 2024

Immagini: (cover 1-2) panoramica d’installazione di Harold Cohen: AARON, Whitney Museum of American Art, New York, 3 febbraio –19 maggio, 2024 (3) Harold Cohen, AARON KCAT, 2001 (4) panoramica d’installazione di Harold Cohen: AARON, Whitney Museum of American Art, New York, 3 febbraio –19 maggio, 2024 (5) Harold Cohen, AARON Gijon, 2001 (6) Panoramica di installazione di Harold Cohen, Refactoring (1966-74), Gazelli Art House, Londra (8 marzo–11 maggio 2024).  Courtesy Gazelli Art House, Londra.

 

 

 

L'articolo Harold Cohen: AARON proviene da Arshake.

ITSLIQUID Group is pleased to announce the open call for THE BODY LANGUAGE 2024, international exhibition of photography, painting, video art, installation/sculpture and performance art, which will take place in Rome, at ITSLIQUID Monti - Rome Art Space from July 12 to July 25, 2024.

ITSLIQUID Group, in collaboration with ACIT Venice - Italian-German Cultural Association, is pleased to announce the open call for VISIONS, third appointment of ANIMA MUNDI 2024, that will take place in Venice at Palazzo Albrizzi-Capello from June 07 to June 21, 2024, and at San Marco Art Space from June 20 to July 04, 2024, and in other prestigious venues and historical buildings, during the 60th Venice Biennale of Art.

Il Saas-Fee Summer Institute of Art di quest’anno, dal titolo “Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism”, è stato organizzato a New York in collaborazione con CTHQ, lo spazio di aggregazione di Creative Time dedicato all’arte e alla politica, e Montez Press Radio, una piattaforma sperimentale di broadcasting e performance.

The post Art, Apparatus and Neural-Digital Entanglement in Cognitive Capitalism appeared first on Digicult | Digital Art, Design and Culture.

Deadline: 9 giugno 2024 

Quando: 28 ottobre – 3 novembre, 2024 (Contemporary Art Week)

Dove: Torino, Share Festival

Link website

L’Associazione The Sharing annuncia la XVI edizione di Share Prize, il concorso dedicato all’arte contemporanea declinata alle tecnologie e alle scienze. Le opere candidate al premio dovranno seguire il tema: ‘ALL-NATURAL’, curato dal direttore artistico di Share Festival Bruce Sterling e della curatrice Jasmina Tešanović.

La Giuria Internazionale del concorso assegnerà un premio di euro 2.500,00* all’opera (edita o inedita) che meglio rappresenta la sperimentazione tra arti e nuove tecnologie.

I candidati al premio (short list di 6 concorrenti) saranno invitati a partecipare alla XVIII edizione di Share Festival. Le sei nomination dei candidati al premio saranno annunciate a Luglio 2024 sul sito web: www.toshareproject.it

Il vincitore sarà annunciato durante l’Opening di Share Festival in programma a Torino
dal 28 ottobre al 3 Novembre 2024, durante la Torino Contemporary Art Week.

Link bando

 

 

 

 

L'articolo Call for submissions > Share Prize XVI proviene da Arshake.

FRAME cattura Microscopic Handbag dello studio MSCHF, una versione a forma di granello del modello di borsa OnTheGo tote di Louis Vuitton. La borsa misura 657 x 222 x 700 micrometri, quindi è più piccola di un granello di sale marino.

MSCHF, Microscopic Handbag, 2023, immagine via

 

L'articolo FRAME > Microscopic Handbag proviene da Arshake.

Deadline: 31 May 202
Call foe entries

‘’…&TAROTS&TAROTS&ALWAYS TAROTS…’’
Size: :MAX A4 (21CM X 30CM)
Techgnique: FREE
WORKS WITH VIOLENT, SEXIST, RACIST CONTENT ARE NOT ALLOWED
ONLINE DOCUMENTATION FOR ALL PARTICIPANTS ON THE DEDICATED FACEBOOK PAGE

ALL THE WORKS RECEIVED WILL BE EXHIBITED IN THE BEAUTIFUL ABBEY OF SANTA MARIA DI CORAZZO (CARLOPOLI, CZ -ITALY)

SEND YOUR DRAWINGS, PAINTINGS, VISUAL POETRY… BY MAY 31, 2024 TO:

Claudio Parentela
VIA F.CRISPI 79
88100 Catanzaro
ITALY

Deadline: 13 May 2024
Call for entries

Mail Art – Open Call

SUBMISSION ADDRESS/SEND TO:
ART GALLERY MAGAZZINO BIANCO
VIA MAGENTA 30
71016 SAN SEVERO (FG)
ITALY

MEDIUM: PAPER OR CARDBOARD
REQUIRED DIMENSIONS 10X 15 CM | 100 MM X 150 MM | 3.9 X 5.9 IN

FREE TECHNIQUE.

DESCRIPTION: THE CALL IS OPEN TO PEOPLE FROM ALL OVER THE WORLD.

ALL INTERESTED PEOPLE ARE INVITED TO CREATE POSTCARDS ON THE THEME OF THE FESTA DEL SOCCORSO (FIREWORKS, MARKET STALLS, FEAST, ETC..).

PARTECIPATING ARTISTS WILL RECEIVE E-CATALOGS.

NO FEE, NO JURY, NO SELECTION.

NO SALE.

THE ARTWORK WILL NOT BE RETURNED.

PLEASE WRITE YOUR NAME, EMAIL ADDRESS, CITY/COUNTRY OF RESIDENCE ON THE BACK OF THE POSTCARDS.

INFO INSTAGRAM: SANSEVERO_CULTURA

EMAIL : MATHERS89@HOTMAIL.IT

Event date:
May 18, 2024 to May 21, 2024
Location:
ART GALLERY MAGAZZINO BIANCO VIA MAGENTA 30 71016 SAN SEVERO ITALY

Deadline:
13/May/2024

ITSLIQUID Group is pleased to announce the open call for SENSES INTERNATIONAL ART FAIR 2024, international exhibition of photography, painting, video art, installation/sculpture and performance art, which will take place in Lecce, in the heart of Apulia, from July 12 to July 21, 2024, in some of the most important cultural city's venues: the MUST - Museo Storico Città di Lecce, Chiesa di San Francesco della Scarpa, and in other prestigious historical buildings.

Nelle giornate del 10 e dell’11 aprile la Rhode Island School of Design (RISD) ospita una conferenza di eccezionale importanza: “Debates in AI”, simposio che approfondisce le molteplici dimensioni dell’intelligenza artificiale (AI) e il suo profondo impatto sulle discipline creative. Questo evento di due giorni svelerà le intricate intersezioni tra arte, design, tecnologia e cultura.

La programmazione prenderà il via l’11 aprile presso la Fleet Library dalle 17.45 alle 19.30 con una conversazione serale tra Kate Crawford (ricercatrice, compositrice, produttrice, accademica e autrice di Atlas of AI) e Ben Davis (critico d’arte nazionale, ArtNet News).

Il 12 aprile, presso il Metcalf Auditorium del Chace Center del RISD, si terrà un simposio della durata di un’intera giornata, con discussioni dalle 9.00 alle 18.00. Tra i partecipanti figurano personalità di spicco come Taeyoon Choi (fondatrice della School for Poetic Computation), Molly Crabapple (artista), Stephanie Dinkins (artista, educatrice), Cory Doctorow (autore di Chokepoint Capitalism e The Internet Con), Elisa Giardina Papa (artista), Brian Merchant (editorialista tecnologico e autore di Blood in the Machine), Trevor Paglen (artista), Christiane Paul (curatrice di arte digitale, Whitney Museum of American Art), Jon Rafman (artista), Dorothy R. Santos (scrittrice, artista, educatrice), Eric Telfort (direttore del dipartimento di Illustrazione del RISD) e Clement Valla (professore associato di Experimental & Foundation Studies, coordinatore della facoltà di Computazione, Tecnologia e Cultura).

“Questo evento è incentrato sul porre domande”, osserva il membro della facoltà Marisa Mazria Katz, produttrice esecutiva del simposio. “Quali sono le questioni etiche in gioco nell’addestramento e nell’uso dei modelli di IA? Come potremmo reimmaginare il copyright e riaffermare il potere collettivo del lavoro creativo? E cosa sono un artista e una formazione artistica nell’era dell’IA?”. Il professor Daniel Lefcourt, co-curatore dell’evento, aggiunge: “Data la rapidità dei recenti sviluppi dell’IA e il profondo impatto che può avere sull’istruzione – e sulla società nel suo complesso – questo è un momento critico per tenere queste conversazioni. Siamo lieti di convocare questi importanti dialoghi al RISD”.

“Mentre le istituzioni e gli esperti di una moltitudine di discipline continuano a indagare sull’intelligenza artificiale, sono lieto che il RISD si stia impegnando in modo così diretto e attivo in questioni che daranno forma agli anni a venire”, osserva il Rettore del RISD Touba Ghadessi. “Dall’esame del significato della paternità umana, sia dal punto di vista creativo che legale, alla dimostrazione della necessità e dell’uso attuale dell’intelligenza artificiale come strumento di progettazione, so che le conversazioni organizzate e guidate dai nostri lungimiranti docenti avranno un impatto duraturo al RISD e oltre”.

Il pubblico è invitato a partecipare a questo evento intellettualmente stimolante che riunisce visionari, leader di pensiero e professionisti all’avanguardia nel dialogo tra AI e discipline creative.

Il sostegno a “Debates in AI” è fornito dalle divisioni di Architettura e Design, Belle Arti, Studi Sperimentali e Fondazioni e Arti Liberali, oltre che dal Centro per la Complessità, dalla Biblioteca Fleet del RISD, dal Centro per le Arti e il Linguaggio e dal Fondo RISD 2050. Il simposio è prodotto dal membro di facoltà Marisa Mazria Katz e co-curato dal professor Daniel Lefcourt, Katz e dal membro di facoltà Marco Roso (cofondatore di DIS.ART).

Debates in AI, Fleet Library and Metcalf Auditorium del Chace Center at The Rhode Island School of Design e online livestreaming via zoom, 11-12.04
L’evento è gratuito ma è necessaria la registrazione. Per registrarsi di persona o via Zoom e per conoscere le biografie dei relatori e ulteriori informazioni, visitare qui il sito.

 

 

L'articolo Simposio “Dibattiti sull’intelligenza artificiale” proviene da Arshake.

Deadline: 28 June 2024
Call for entries

POMO V INTERNATIONAL MAIL ART EXHIBITION
EXHIBITION DATE: OCTOBER 01, 2024
EXHIBITION HALL: SELÇUK UNIVERSITY FACULTY OF FINE ARTS EXHIBITION HALL, KONYA / TURKEY

DESCRIPTION: As was done in previous periods, a “Postmodern” themed Postal Art exhibition was organized within the scope of our faculty’s 25th Anniversary events. This exhibition is open to national and international participants and artists interested in mail art.

To exhibit the works of people interested in mail art at home and abroad, to contribute to the development of mail art in our country, and to establish artistic ties between people interested in national and international art. We believe that the works in various styles and techniques to be exhibited will contribute to the technical and thematic art education processes of our students.

ENTRY FEE: NO

CONTACT URL: https://www.mailartexhibition.org

ITSLIQUID Group, in collaboration with ACIT Venice - Italian-German Cultural Association, is pleased to announce the open call for CONSCIOUSNESS, second appointment of ANIMA MUNDI 2024, that will take place in Venice at Palazzo Albrizzi-Capello from May 10 to May 24, 2024, and in other prestigious venues and historical buildings, during the 60th Venice Biennale of Art.

VIDEO POST rilancia What is for Sure, installazione luminosa che esplora il rapporto tra spazio e tempo manipolando il ritmo apparentemente naturale e cronologico della luce.

Studio Verena Bachl + Karsten Schuhl, What is for Sure, 2024

 

L'articolo VIDEO POST > What is for sure proviene da Arshake.

Arts at CERN and Copenhagen Contemporary welcome proposals for the second edition of Collide Copenhagen. Artists and collectives from any country are invited to submit their proposals for a fully-funded two-month residency shared between CERN in Geneva and Copenhagen Contemporary.

To the artists-in-residence, mur.at offers its infrastructure and possible assistance by the mur.at admin team and the wider mur-community. Artists can involve the community in the research process, develop ideas together, collaborate with others and produce digital artworks. For the onsite residency in Graz (Austria), an appropriate accommodation in the ‘Künstlerinnenwohnung’ located in the same building as the mur.at headquarter will be provided.

The Prix Ars Electronica is entering its 38th round: From tomorrow, January 12, 2024, artists can once again submit entries to the world’s most traditional media art competition. There are three categories to choose from. The “AI in Art” award is new.

TTTlabs art and science research thematics include: embryonic development, preimplantation genetic diagnosis, undead morphogenetic programing and speculative forms of embryo grading.

The Technarte International Conference on Art and Technology will be held in Bilbao, Basque Country, Spain on May 17, 2024. We are currently looking for artists and technologists from around the world who want to join this exciting event as a speaker and share their vision of the fusion between art, science and technology.

For the real-world art scenario, SHARESPACE is currently looking for a media artist (group) to collaborate with. The goal of the collaboration is for the artist to realize their own art work for the Deep Space 8K, located at the Ars Electronica Center, utilizing SHARESPACE technology.

Our conference is asking: “What would Science, Technology and Innovation look like in a world not driven by the endless pursuit of economic growth? What exciting futures would begin to take shape if we harnessed technological and scientific advances for something other than growth alone? What new worlds might we be able to conceive if human wellbeing and the natural environment were the primary focus of innovation?"

With the support of the European Union’s Creative Europe programme, the European Media Art Platform continues its residency program for artists, artist duos, collectives or other artistic collaborations working in the fields of digital art, media art, robotic art and bio art.

ISEA2024 sets out to explore human perception of timescales and challenge our understanding of past, present and future in the days of singularity and climate change – the Everywhen. The Everywhen is the concept of all time simultaneously present in a place and describes the notion that past, present and future are co-habiting any given location. Where many western cultures believe time is the constant and travels in a linear progression from now to then, First Nations Australians describe the before then, then, now and the future then existing in the constant presence of place: The Everywhen.

S+T+ARTS AIR launches a new S+T+ARTS residencies programme focused on two main themes: Resilient interspecies urban ecosystems and Human AI Ecosystems, presenting a unique opportunity for artists to collaborate at the intersection of art, science, and technology.

ITSLIQUID Group is pleased to announce the open call for the 10th edition of ROME INTERNATIONAL ART FAIR 2024, international exhibition of photography, painting, video art, installation/sculpture and performance art, which will take place in Rome, at ITSLIQUID Monti - Rome Art Space from May 24 to June 06, 2024.

ITSLIQUID Group is excited to announce the launch of the Art Ambassadors Program, designed to foster collaboration between artists, art curators, and art lovers by providing them with opportunities to showcase their work and projects globally, participate in exclusive events, and contribute to the vibrant international artistic community.

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: 13 September 2024
Call for entries

My 2024 Mail Art Project

The Project & its Background:
I once stepped into the elevator of a thirty-floor building, which had no 13th floor button. Seeing the order jump from 12 to 14, I thought, “This is weird!” Had some designer or engineer made an outrageous mistake? Noticing more cases—on airplanes, for instance—I discovered the practice is widespread. But for one whoâ€s had a good relationship with 13 right from birth, this makes no sense.*
N°13 is not just synonymous with bad luck. It symbolizes many things. Some even enjoy playing with the numberâ€s reputation by taking a tongue-in-cheek approach. Take Finlandâ€s National Accident Day, for instance, which promotes safety on the roads, at work and in the home. Its annual day of celebration is always Friday the 13th.

Whatâ€s your take on N°13?
Letâ€s share a laugh or a touch of dread. I invite you to put what you feel, think or believe about the number on a postcard and post it by Friday, September the 13th, using this address:

N° 13
Taivaanvuohentie 3 B 13
00200 Helsinki
Finland

Recommendations:
material must be child friendly // common postcard size (10 x 15 cm / 4 x 6 in) preferred //
media: free // no jury, no fee, no return // please include contact info (email)
All works received will be exhibited at https://postboxtomailboxnoplainart.blogspot.com and a
digital publication (catalogue) will postdate the project.

Questions: 4johngayer@gmail.com

*The paradox embodied in this tale is that the ‘dangerous†number hadnâ€t disappeared. Its digits had merely been reversed to identify the highest storey. Imagine, this thirty-floor building had a 31st floor.

Call for entries
deadline : 1 June 2024

Soundart wanted!

The Sound of Anthropocene

While Anthropocene (actually only proposed as a new epoch of geologic time, following the Holocene) is an officially not yet definitely defined period of time during which human activities are thought to have had a significant impact on the global environment, regarded as having begun sometime between twelve thousand years ago, with the spread of agriculture, and two hundred years ago, with the advent of industrialization, as a topic of the media art context of The Anthropocene Project, the term is going far beyond marking the contradictory relationship between (the volatile transitory character of) human nature and (sustainable) nature, the significant human impact on ecosystems, including the human-caused climate change, biodiversity loss etc.

Curated by Wilfried Agricola de Cologne, The New Museum of Networked Art realizing the Sound of Anthropocene Project as a new media art context in an exchange between virtual and physical space, is inviting artists using sonic art as a non-visual medium to submit their soundart pieces dealing with the (positive and negative) human impact.

Please use for each submitted work a separate entry form.

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

Deadline: Feb 10th, 2024
Call for entries

FILE 2024 – Call for Entries
July 3rd to August 25th, 2024
Sao Paulo, Brazil
Registration to participate in FILE – International Electronic Language Festival projects in 2024 is now open. The festival seeks original works of art and educational projects (lectures and workshops) in Art and Technology, by Brazilian and international artists. Registration remains open until February 10th .

FILE is a non-profit cultural organization that has propagated creation and experimentation in Art and Technology through exhibitions, events and publications over 23 years. This call opens up the opportunity to participate in the 23rd. Edition of the International Electronic Language Festival, which is scheduled to take place at the FIESP Cultural Center, in Sao Paulo. The selected projects will also be able to collaborate in parallel events in different states in Brazil.

Using the registration form, it is possible to send proposals for interactive installations, sound art, video art, robotics, animations, CGI videos, virtual realities, augmented realities, mobile art, games, gifs, internet art, lectures and workshops, among others . To participate in the LED SHOW program, exhibited annually at the FIESP Digital Art Gallery, register using the form in accordance with the rules established in the regulations. Sign up!

Access the registration form.

Mo entry fee!

Contact adresses/URL
https://file.org.br/highlight/file-2024-call-for-entries/

Deadline: 29 February 2024, 24h
Call for Entries

Open Call- “Wash my fur, but don’t make me wet”
Climate protection with displacement. Wash my fur, but don’t get me wet.

64th exhibition of GG3 3.5.2024 – 14.6.2024 Berlin
The majority of society wants climate protection, but does not want to change. It becomes nervous, susceptible to fossil lobby campaigns, superstitions and right-wing influences.
People are in favor of doing something about man-made global warming, but they still want to fly on vacation. One denies one’s own fossil addiction. The other countries, the politicians, should take action against the climate crisis. People don’t want to see their own responsibility as voters for political parties and as consumers of flights, cars and goods who cause CO2‚ emissions. Of course, something should change, just not in your own life. Science calls this behavior cognitive dissonance.
The artworks in the gallery and front garden are intended to refer to the generic term “displacement of man-made global warming, outside to the displacement of specific problems of the locations:
1. park path at the Waldemar bridge: Cyclists and scooter riders displace the driving ban in the park
2. park path south of the lake: the greenery on the walls is being damaged for graffiti. The sprayers suppress the importance of the climbing greenery for people.
3rd, 4th sidewalks near the stairs into the park: Litter is dumped or thrown down. The actors suppress the fact that the litter usually disturbs pedestrians and residents.
5th lake: The lake is over-fertilized due to the prohibited feeding of aquatic animals. The feeders suppress the adverse effects on animals, water quality and the plants of the lake.
Plan of the exhibition
6. and 7. works to suppress man-made global warming.
Exhibition in the gallery and front garden: Tuesdays and Fridays 5-8 p.m., on the sidewalk, in the park and on the lake two days each 4-6 p.m.

Deadline 29.2.2024, 24 oâ€clock
In a public call for entries, we invite artists to submit contributions for a group exhibition in our exhibition rooms and outside according to our criteria for the theme described above.
Disciplines: object, sculpture, installation, photo, painting, drawing, printmaking, video with credits, sound is possible. A performative contribution such as a performance, VJ or similar to the vernissage, artist talk or finissage is desired.
We offer exhibition space with equipment, bar, advertising by mail and div. Websites and social media and web and print flyers, organization of the work texts, the lecture, the documentation.
We do not charge a fee for applications, exhibitions etc. We are a free, self-organized project space and work on a voluntary basis.
Works: Only letters and videos from non-EU countries, no parcels. For sent works, we ask that senders include the return postage.
Unfortunately, there is no budget for production, additional technical equipment, transportation and insurance – the room is technically secured. We expect good cooperation and agree on rules of cooperation,

Individual artists or existing artist groups can apply online with max. apply for three works. Works in Park 1-5 must be supervised by the artists.
Attendance for regional artists is desired for vernissage and the artist talk, as well as attendance at a date of the exhibition.
GG3 is showing the exhibition inside the gallery and outside in the front garden, on the sidewalk, in the park and on the lake. GG3 applies for approval from the Mitte district of Berlin.

Click here for the online application form
https://gg3.eu/ausschreibungen/submission.php?call=8&lang=en

Jury Team GG3: Tom Albrecht, Stephan Gross, Maria Korporal, Mina Mohseni,
Curator : Tom Albrecht

Address: Leuschnerdamm 19, D 10999 Berlin

Q and A for calls by GG3
Q: Is there a way to review my submission to confirm it was submitted correctly?
A: This is not necessary if the submission has been accepted and you have received a confirmation email.
Q: Would you recommend submitting only new artwork applications, and if so, will this affect my application?
A: No, it doesn’t matter. The decisive factors are the strong reference to the advertised theme and the artistic quality.
Q: I fail to upload the CV and show list.
A: Only pdf and doc formats are accepted, max. 10 MB. No docx or odt!
Q: Made a mistake, can I correct my application?
A: No problem, we correct for acceptances.
Q: How do I submit multiple works?
A: Close the first application and reopen the form.
Q: Is it possible to send you an application by email?
A: Application by mail is not possible due to the work of the jury.

Climate protection with repression. Wash my fur, but don’t get me wet.
Buschhaus (C) T.A. Exhibition

Bush house (C) T.A.

64th exhibition in Gallery and Park 3.5. – 14.6.2024

Exhibition
in gallery: Tuesdays and Fridays 5-8 p.m., in the park Fri., 24.5., 4-6 p.m. and Fri., 14.6., 4-6 p.m.

The artworks in the gallery and front garden are intended to refer to the generic term “repression of man-made global warming”, outside to the repression of specific problems of the locations in the park.

The majority of society wants climate protection, but does not want to change. It becomes nervous, susceptible to fossil lobby campaigns, superstitions and right-wing influences.

People are in favor of doing something about man-made global warming, but they still want to fly on vacation. You deny your own fossil addiction. The other countries, the politicians, should take action against the climate crisis. People donâ€t want to see their own responsibility as voters for political parties and as consumers of flights, cars and goods who cause COâ‚‚ emissions. Of course, something should change, just not in your own life. Science calls this behavior cognitive dissonance.
Gallery

The works in the gallery and front garden refer to the generic term “repression of man-made global warming”. Locations 6. and 7. in the plan.
Park

Works refer to the displacement of problems in the park. Dates in the park Fri, 5/24, 4-6pm and Fri, 6/14, 4-6pm. Locations:

1st park path at the Waldemar Bridge: Cyclists and scooter riders displace the driving ban in the park.
2. park path south of the lake: the greenery on the walls is being damaged for graffiti. The sprayers suppress the importance of the climbing greenery for people.
3rd, 4th sidewalks near the stairs into the park: Litter is dumped or thrown down. The actors repress fact that the litter usually disturbs pedestrians and residents.
5th lake: The lake is over-fertilized due to the prohibited feeding of aquatic animals. The feeders suppress the adverse effects on animals, water quality and the plants of the lake.