APPEL DE DOSSIERS 2021-2022

Culture Trois-Rivières invite les artistes professionnels et de la relève, les collectifs d’artistes et les commissaires en art actuel à soumettre un projet d’exposition en vue de la programmation 2021-2022.  Avec deux centres d’exposition, un volet en art public et différentes actions sur le territoire, CULTURE TROIS-RIVIÈRES travaille activement à susciter l’intérêt pour l’art visuel et à le développer pour qu’il soit dans le quotidien des gens. Contribuant à faire de Trois-Rivières un lieu incontournable pour le développement des arts visuels, ces lieux d’exposition permettent à la population de découvrir gratuitement et d’apprécier le talent d’artistes d’ici et d’ailleurs, professionnels et de la relève.

Le dossier doit inclure : Démarche artistique;
Description détaillée du projet d’exposition;
Documentation visuelle1 avec description (10 à 15 images sur support numérique);
Curriculum vitae à jour ou présentation du collectif;
Dossier de presse;
Enveloppe suffisamment préaffranchie et pré-adressée pour le retour du dossier, s’il y a lieu.
1 La documentation visuelle fournie n’a pas obligatoirement à présenter les œuvres qui seront exposées mais doit refléter le caractère du projet d’exposition soumis.

Les dossiers sont jugés selon la qualité et la pertinence de la démarche artistique et du projet proposé en regard de la programmation annuelle. Les artistes sélectionnés reçoivent des redevances conformes aux recommandations du CARFAC (droits d’exposition, droits d’auteur, etc.)

Situé en plein cœur du centre-ville, le Centre d’exposition Raymond-Lasnier est une composante importante de la Maison de la culture de Trois-Rivières.  Son mandat est de présenter des productions d’artistes professionnels et de la relève d’ici et d’ailleurs, des expositions thématiques, collectives et événementielles, tout en favorisant les apprentissages par des activités qui démystifient l’art contemporain et actuel.

Le Centre culturel Pauline-Julien est un espace de diffusion dédié aux arts visuels et médiatiques.  Son mandat est d’offrir une programmation en arts visuels et numériques ainsi que des projections (courts métrages et films sur l’art).

DATE LIMITE : 1ER FÉVRIER 2020

Pour information ou pour soumettre un dossier :
CULTURE TROIS-RIVIÈRES
1425, place de l’Hôtel-de-Ville, C.P. 368
Trois-Rivières, Québec, G9A 5H3
artsvisuelsc3r [arobas] v3r [point] net

2. appels en anglais du Canada

Supercrawl 2020 Call for Artist Submissions
Deadline: Friday, January 31, 2020

Supercrawl is a free annual outdoor multi-arts festival in downtown Hamilton, and the Supercrawl Art Committee is excited to release our Call for Artists for 2020. Showcasing great music alongside an entire street of cultural experiences — a diverse and dynamic lineup of music, art, fashion, performance, talks, crafts, food and fun — the festival has captured the imagination of culture lovers far beyond the city.

Supercrawl’s Visual Art Committee invites proposals for creatively diverse work that has large-scale visual impact and responds to the streetscape of the event. Projects by local, regional, national and international artists are selected based on artistic merit, originality, and ability to integrate within the festival’s scale and energy. The goal of the Supercrawl Visual Art Committee is to select contemporary visual art pieces that will enhance the overall festival experience. Full details and submission portal can be found at supercrawl.ca/apply.

Links
supercrawl.ca
instagram.com/supercrawl
facebook.com/supercrawl
twitter.com/supercrawl

Areas of Interest
Supercrawl’s Visual Art Committee invites artists working in a wide range of creative disciplines to propose works for installation as part next year’s event, taking place September 4-6, 2020.

The Committee is interested in seeking proposals in the following areas:

Identification of distinct Art Zone (i.e.: entryways, banners, etc.)
Installation art
Sculpture
Public interventions
In addition, the Committee welcomes proposals that can be installed within the following context:
Mural frame (approx. 21′ wide x 25′ high) on south facade of 118 James St. N., Hamilton, ON

Criteria
Proposals must consider public safety and visibility, and the piece must be able to be safely performed or executed outdoors with large crowds present at all hours and weather conditions, and will remain impactful during both the daytime and night-time hours of the festival. Audiences are estimated at approximately 80,000 people per day.

Artists working collaboratively is permitted. (Collaborative implies that more than one artist has worked on the piece being submitted.) Please choose ONE artist’s contact information for communication purposes.
Work must be original, current and completed within the past ten (10) years.
Artists are responsible for ensuring that there are no copyright issues or other legal issues attached to images used or the subjects of their commission.
Fees & Resources
Each project selected will be allocated an artist’s fee in line with CARFAC fee schedules in addition to the project proposal’s material and production budget. Costs such as travel and accommodation, where necessary, may be covered and will be addressed on an individual basis. Production assistance may also be available. Supercrawl will also be assigning significant resources to promotion of the event and selected artists leading up to the festival, and during the event. The festival will provide schedule signage, produce posters and handbills, and include programming details both in printed materials and on the Supercrawl website.

Dates & Location
Works will be featured throughout the festival weekend (September 4-6, 2020) and installed in Supercrawl’s Art Zone located along James Street North between Cannon Street and Robert Street.

Submission Package Requirements
Contact Information / Website
Artist CV
Artist’s statement – conceptual statement of the work
Practical explanation of the work (i.e.: Description of proposed project, scale, materials, methods). Please provide an installation plan including time required and any technical/logistical requirements.
Estimated Budget – Project Material and Production Costs (i.e.: materials, rentals, travel expenses, artwork transportation)
Photos/Renderings/Sketches of Proposed Work – 3-5 images
Support Images – 3-5 images of previous work relevant to the proposed project. (Video works: 10 minutes maximum)
Image List – indicating title, year, media & dimensions/duration of works.
The Supercrawl Visual Art Committee is open to creatively diverse work that has large-scale visual impact and responds to the streetscape of the event. Artists and their work will be identified and publicized as official Supercrawl curatorial selections during the event, on the Supercrawl website and in select media releases. Artists will be required to sign a contract with Supercrawl Productions Inc.

APPLY AT supercrawl.ca/apply

Deadline for submissions: Friday, January 31, 2020 at 11:59pm ET.
Late submissions will not be considered.

Successful applicants will be contacted by March 2, 2020.

Artists are encouraged to contact the Committee to receive clarification and/or additional information as needed to develop proposals.

About Supercrawl
A driven team of Hamilton artists and community builders founded Supercrawl in 2009 with a view to showcasing great music alongside an entire street of cultural experiences — a diverse and dynamic lineup of music, art, fashion, performance, talks, crafts, food and fun (local, regional national and international).

Since its inception, Supercrawl has captured the imagination of culture lovers far beyond the city, drawing visitors from across Canada and around the world. The event has gone from a one-day celebration on a single block to a weekend-long experience encompassing almost two kilometres of downtown streets, with attendance growing from 3,000 to 250,000 in that time.

Supercrawl was shortlisted for a 2017 Canadian Tourism Award for Event of the Year, received the 2015 Ontario Tourism Award of Excellence for Tourism Event of the Year (and been shortlisted for the same award in 2019), and has been recognized as one of Festival and Events Ontario’s Top 100 Festivals/Events (2015-2019).

•••••

Images Festival Call for OFF SCREEN & LIVE Submissions

Images Festival is pleased to open our call for OFF SCREEN and LIVE submissions that accepts program and exhibition proposals for cinema screenings and gallery exhibitions on a rolling basis.

Proposals will be reviewed in the summer and early fall over an extended period of planning as the festival’s program and presenting partnerships begin to take form.

Proposals received in one review cycle may not be conceptually complementary or logistically possible for the upcoming festival year. However, the removal of a fixed submission deadline allows Images to consider proposals in greater depth, assess capacity, and prepare to seek funding and partnerships to meaningfully support the realisation of the presentations.

ABOUT IMAGES FESTIVAL

Images Festival annually exhibits film and video installations, media-based performances, and online work alongside its ON SCREEN program of film and video works. For the OFF SCREEN and LIVE segments of the festival, Images partners with GTA-based galleries, production centres, and other organizations.

Images presents work that counters dominant mainstream narratives and provides alternative ways of thinking and seeing that expands the understanding of media art through our programming and education-based initiatives.

Images Festival does not select films based on any particular themes, genres or aesthetic categories but selects moving image works that share formal and political sensibilities which emerge from recent critical discourses between contemporary art, cinema and media arts.

SUBMISSION GUIDELINES

DATES

The 33rd edition of Images Festival will take place between April 16 to 22, 2020.

SUBMISSION DEADLINE

ONGOING

https://imagesfestival.com/submissions/off-screen

•••••

Architecture + Design Film Festival: Call for 2-min short films, Submission Deadline March 21

Deadline 21 March 2020

Call for 2-min Short Films celebrating Architecture & the narrative potential of places, real or imagined. ArchiShorts is a Free FilmContest open to all. Winning films will screen as part of Winnipeg’s 9th annual Architecture + Design FilmFestival (April 22-26, 2020).
Deadline for submissions to the ArchiShorts contest is March 21, 2020. We typically receive submissions from across Canada and around the World.
Past winners include emerging archi-filmmakers in India, Ireland, Italy, Texas, New York, Toronto, Montreal, Ottawa, Winnipeg, and Victoria BC. Find out more here > https://adff.ca/archishorts

•••••

MHC Gallery: Call for artists: Breaking the Silence on Domestic Violence 2, Submission Deadline February 25

MHC Gallery

Call for artists: Breaking the Silence on Domestic Violence 2

Calling on artists of all ages, genders and skill levels to join in the effort to put a stop to domestic violence. Details at www.cmu.ca/gallery/

Send digital images of up to two artworks to rdirks [arobas] cmu [point] ca. Inquiries, isabelcheer [arobas] gmail [point] com

submission deadline: Feb. 25, 2020

exhibition dates: March 20-May 2, 2020

address: MHC Gallery, 600 Shaftesbury Blvd., Winnipeg, south campus of Canadian Mennonite University

•••••

AKA supports the creation and development of artist driven initiatives and emerging practices that speak to, reflect and encourage dialogue in our culturally diverse communities. This includes work in all media by local, national and international artists. Our venues consist of a street-level gallery, billboard and multi-use screening and performance event space; we also source off-site locations for site-specific projects.

AKA accepts submissions on an ongoing basis for project/exhibition proposals that consider AKA’s history and setting.

Support for selected projects/exhibitions includes: curatorial assistance, shipping, insurance, installation/strike assistance, promotion, documentation and the potential development of accompanying programming suited to the form of the project. AKA pays artist fees at or (when possible) above the CARFAC national average.

Submissions Guide
Please review AKA’s past programming archives, floorplan and billboard; as well as our mandate. AKA accepts digital submissions as a single PDF document via email: gallerycoordinator@akaartistrun with the subject heading: AKA Submission. Please ensure the PDF document includes your name. Digital or physical submissions in any other format will not be accepted.

Submission PDF (max 7MB) must include:

Project/exhibition proposal including technical/install needs (max. 500 words)
Artist statement (max 500 words)
CV with complete contact information
Images with image details (max 10); OR
Time-based direct embedded links

AKA Artist-run centre
424 20th Street West
Saskatoon, Treaty 6 Territory and the Homeland of the Métis
Saskatchewan, Canada, S7M 0X4

306-652-0044
akaartistrun.com

•••••

Southern Alberta Art Gallery (SAAG) Submission Guidelines
Exhibition proposals are accepted throughout the year and reviews are ongoing.  Selection is carried out over a period of time through studio visits and correspondence with artists and curators in whom the gallery has an interest.  Those interested in proposing their work to SAAG are asked to include with their submission: a curriculum vitae, an artist statement and/or letter of intent, a wide selection of images, and other relevant support material. Submissions should be mailed to:

Southern Alberta Art Gallery
601 3rd Ave. S.
Lethbridge, Alberta
T1J 0H4

The gallery will not return your submission – please do not send original artworks or valuable materials.   Given the large number of submissions received by the gallery, formal letters of reply will only be issued to proposals of immediate interest.

Exhibitions are generally six weeks in length.  An opening is held to introduce the work to the public.  Artists are also invited to give an illustrated lecture on their work in conjunction with the University of Lethbridge Faculty of Fine Art during the academic year.  Other special events (workshops, panel discussions, etc.) are considered on a case-by-case basis.

The Southern Alberta Art Gallery pays CARFAC fees, shipping and insurance, and often seeks funding to produce catalogues for the exhibition.  All publications, including our quarterly newsletter GALLERY (which discusses and reproduces work by exhibiting artists along with other programming), are exchanged with other institutions in Canada and abroad.

The Southern Alberta Art Gallery fosters the work of contemporary artists who challenge boundaries, encourages broad public engagement and promotes awareness and exploration of artistic expression.  Our work extends to local, national and international communities.

http://saag.ca/art/submission-guidelines/

3. appels internationaux

Call 业绩要求 Convocatoria Русский Convocation

Chame コールのパフォーマンス Citazione

Talks / Workshops / Writings / Performance / Urban Intervention / Theater /

Performance Photo / Video Performance / Documentary / Live Transmissions…

Deadline / 2-22-2020 / Fecha Límite

Charlas / Talleres / Escritos / Performance / Intervención Urbana / Teatro

Foto Performance / Video Performance / Documental / Transmisiones en Vivo…

http://www.perfoartnet.org/Biennial-2020-PerforARTnet-Performance-Art-Emancipation-Emancipacion.html

4. résidences

Appel de candidatures

LUMINOUS BODIES: Representing the Human Body in Diversity
Program Dates: June 29–July 13, 2020
Submission Deadline: Feb 24, 2020

Luminous Bodies is a two-week residency to create artworks that shed new light on the human body. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Resident artist talks, gallery tours, visual and textual references, guest artist talks, and regular critiques (individual with Facilitator and group critiques) help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance, installation, sound, movement, media art, etc. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life into a creative journey of critical innovation and self-discovery. People with disabilities, people of colour and diverse gender identifications are encouraged to apply.

Artscape Gibraltar Point is an artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom (private or shared), and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is a barrier free and inclusive environment. The Toronto city core is just a 15-minute ferry ride away.

Apply by filling out the form: www.artscapegibraltarpoint.ca/artist-residences/book-a-residency

Please include your website or link to your work, indicate you are applying to Luminous Bodies, and your preferred accommodation.

For questions about programming, email: info [arobas] LuminousBodies [point] com
For questions about Artscape Gibraltar Point amenities, email: ALochhead [arobas] Artscape [point] ca

•••••

Vous êtes un artiste ou un professionnel étranger de la culture et séjournez à Paris dans le cadre de votre travail ? Vous pouvez déposer une demande de logement à la Cité internationale universitaire de Paris en ligne : http://workflow.ciup.fr/citeu/site/login.php

Certains logements sont spécifiquement adaptés à l’activité artistique : la Cité internationale dispose de deux ateliers-logements pour artistes plasticiens et six studios avec cabine insonorisée pour les musiciens. Les différentes maisons de la Cité internationale peuvent également accueillir des artistes et professionnels de la culture en fonction de la disponibilité de leurs logements (sans espace de travail). Le tarif des logements varient selon le type, le confort et la durée du séjour.

Si votre nationalité est représentée par une maison de la Cité internationale, renseignez-vous auprès d’elle pour connaître la démarche à suivre. Cf. http://www.ciup.fr “les maisons”.

Si cette maison représentant votre nationalité n’a pas de disponibilité, votre demande pourra être transmise aux autres maisons de la CIUP, sous réserve de la validation de la demande par la CIUP.

Les statuts de la cité prévoient en effet que pour y être admis, la venue de l’artiste doit s’inscrire dans le cadre d’un projet précis soutenu institutionnellement (venue sur invitation d’une structure culturelle française, ou sur envoi d’une structure culturelle du pays de résidence de l’artiste, pour une réalisation spécifique). Cette institution doit soutenir financièrement le projet, et donc le séjour de l’artiste à Paris.

D’autre part, la cité prévoit dans ses statuts que les artistes soient étrangers ou en mobilité internationale.

sans date limite

5. art public

PROLONGATION || APPEL 2020-2021
Autres horizons – Programme hors les murs

Nouvelle date de tombée : 26 janvier 2020
(English PDF version)

L’Œil de Poisson lance un appel de dossiers pour sa programmation 2020-2021 sous la thématique Autres horizons. Les artistes sont aujourd’hui le reflet d’une société en pleine transformation, adoptant des postures critiques face aux enjeux qui pèsent sur le monde contemporain. Vecteurs essentiels à l’approfondissement de la pensée, le geste artistique et la création ont le pouvoir de nourrir l’imaginaire et d’inspirer de nouveaux mondes possibles et soutenables. C’est ainsi que le centre invite toute entité artistique d’ici ou d’ailleurs (artiste, collectif d’artistes, commissaire, conférencier.ière, critique, etc.) à déposer des propositions audacieuses qui prennent en considération notre contexte social, politique et écologique actuel, offrant une vision sensible et libérée nous encourageant à rêver à de nouveaux idéaux encore insoupçonnés.

Ouvert à toutes les pratiques au caractère risqué, novateur et expérimental, l’appel cible des projets destinés à une diffusion hors les murs. L’objectif de cette programmation est d’inciter les artistes à sortir du cadre traditionnel des espaces d’exposition du centre en imaginant des projets aux formes inédites pour inventer de nouveaux paradigmes et imaginaires (évènements, initiatives collaboratives, conférences, entretiens, performances, concerts, ateliers, expositions et toute autre forme inconnue à ce jour). Ces initiatives permettront de tisser de nouveaux liens entre les artistes et leur communauté, à stimuler les processus de création hors-normes dans des lieux inattendus (extérieurs ou intérieurs, excluant les galeries de l’Œil), et à générer des espaces de rencontres fortuites avec la création contemporaine.

L’Œil de Poisson se veut être un laboratoire vivant, une plateforme active où l’ensemble des pratiques alternatives sont conviées à se manifester. Notre volonté est de stimuler et d’encourager la circulation et la confrontation des idées, et d’inventer des modes de création inusités face aux mutations et aux enjeux de notre époque.

Convaincu par la nécessité de diversifier les points de vue pour enrichir et stimuler les réflexions et les échanges, l’Œil de Poisson encourage chaque entité artistique s’identifiant comme membre d’une communauté minoritaire à déposer leur candidature.
CONTENUS :
Curriculum vitae
Coordonnées
Descriptif du projet (1000 mots max)
Échéancier
Documentation d’appui (10 à 15 images, vidéos ou autres)
Budget prévisionnel

CRITÈRES :
Qualité de la proposition
Faisabilité du projet
Cohérence avec la thématique
Notez bien qu’aucun dossier papier ne sera accepté
Date de tombée : 26 janvier 2020
Envoyez votre dossier à l’adresse suivante : programmation [arobas] oeildepoisson [point] com (objet : autres horizons)

_PDF en français

•••••

King William Street Beacon and Gate Public Art Project
City of Hamilton

Info Session: January 27
Deadline: February 27

Artists and artist-led teams are invited to submit proposals for a permanent public art work at the corner of King William Street and James Street North in downtown Hamilton.

Read more

•••••

Call for Submissions: Erring at King George

Submission Deadline: February 2, 2020, 11:59 PM

Artspace invites professional artists working in any medium to apply with proposals for a multi-arts festival to take place in May 2021 at King George Public School, 220 Hunter St E, Peterborough, Ontario.

CALL TO ARTISTS

Artspace is looking for experimental and socially engaged proposals from individual artists, curators, and collectives to create site-specific work for a space, or multiple spaces, inside King George Public School located in Peterborough, Ontario. Proposals for work utilizing the exterior of the building and the grounds are also welcome.

Artspace is dedicated to presenting work from contemporary artists working in a variety of disciplines and strives to present art that reflects and promotes diverse cultural and political perspectives. Submissions from emerging, mid-career, and senior artists are welcome. We encourage applicants to confront some of the issues raised by the site, which include accessibility, colonialism, and public education. This is an opportunity to open relevant, necessary dialogues and point to ways forward together through engagement with histories of exclusion and oppression. Submissions of new and existing work are welcome, but successful proposals will be site responsive.

Eligibility

Proposals are being accepted from professional artists, curators, and collectives.

Proposals must be for new or existing work that responds to the site in some way. Please describe how your proposed project is particularly relevant to the site, how it is suited to the space(s) the site offers, or how it connects to the site and its surroundings.

Evaluation Criteria

Submissions will be assessed according to the following criteria: artistic merit and innovation; ability to see the project to completion; application clarity and completeness; and responsiveness to site.

Submission Criteria

A detailed Project Description (max. 500 words) that describes the proposed work and outlines how the work will engage audiences and/or encourage public interaction. Describe how the proposed work either contributes to your artistic practice or relates to other work you, or your team of collaborators, are currently engaged in. If possible, include an indication of the room or space(s) you prefer to use. Floor plans of the school are attached.
Technical Requirements: Please outline any lighting, sound, projection, or installation requirements.
Artist Bio (max. 250 words/artist): Describe your artistic practice and history of presenting artistic work. If there is more than one principal collaborator, please provide bios for each.
Artist(s) CV (max. 2 pages/artist).
Support Material: up to ten images of recent work and maximum 3 audio/video files. Video documentation should be uploaded to a site such as Youtube or Vimeo and linked in the application. Regardless of duration, please include full videos. Due to time constraints, the selections committee may only view up to 5 minutes of each video. Please note the clip you would prefer the jury view by including time marks in the documentation list.
Please note that proposals cannot include damage or any permanent changes to the site. All spaces must be returned to their original state at the event’s close. Also note that the gymnasium and grounds are the only area currently not accessed by stairs.

Submission Guidelines

All submissions should be made online through:
https://artspace-arc.submittable.com/submit

Artspace does not accept mailed submissions. Applicants who do not adhere to the submission criteria will be disregarded.

Deadline for Submissions: February 2, 2020, 11:59pm.

If you have any questions regarding submissions, please contact:

Hannah Keating
Assistant Curator
Artspace
378 Aylmer Street North
Peterborough
hannah [arobas] artspace-arc [point] org
705-748-3883

Successful applicants will be invited to participate in a site visit.

Additional Information

King George Public School was built in 1913 on Armour Hill in Peterborough’s Ashburnham (East City) neighborhood, and served grades JK – 6 up to the end of the 2018-2019 school year. A brand new school is being built on the site, due to open in fall 2020. Artspace and its collaborators (Public Energy Performing Arts and The Art Gallery of Peterborough) have received permission from the Kawartha Pine Ridge District School Board to use the school as the site for a multidisciplinary art event planned for May 2021.

The 3-storey school has more than 50 rooms spread out over three floors, including classrooms, corridors, coat rooms, offices, library, and a gymnasium. There are no elevators in the building, so the gymnasium at ground level and the school’s exterior grounds are currently the only accessible spaces.

View the school’s floor plans and links to relevant historical information on our website: https://artspace-arc.org/calls/call-for-submission/

Web
www.artspace-arc.org
Instagram
www.instagram.com/artspaceptbo
Facebook
www.facebook.com/ARTSPACEptbo
Twitter
twitter.com/artspaceptbo

6. pour commissaires

Director position available

Kunstmuseum Liechtenstein
Städtle 32
FL-9490 Vaduz
Liechtenstein
Hours: Tuesday–Sunday 10am–5pm,
Thursday 10am–8pm

T +423 235 0300
F +423 235 0329
mail [arobas] kunstmuseum [point] li

jobs.leadershipservices.at

The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring.

Director (m/f)
We offer a committed and innovative individual a challenging remit with many creative possibilities.

The profile of the role includes, in particular:
–Responsibility for the artistic and commercial management of the museum
–Maintenance, expansion and research of the collection
–Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level
–Responsibility for the operation of the museum and its staff

What we expect:
–A degree in history of art or an advanced level of expertise in modern and contemporary art  with proven curatorial experience
–Experience and networking in the international museum environment
–Strong conceptual, communicative and organisational skills with team-based
management experience in the museums sector
–Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region

Please send your application by March 9, 2020 to www.jobs.leadershipservices.at
Our consultant from Deloitte, Flora Kuras (T +43 1 537 00 2536), will be pleased to respond to your questions.
Deloitte, Renngasse 1, 1010 Vienna

•••••

Performance Research

Call for Papers: Vol 25:7 ‘On Hell’ (November 2020)

Issue Editors: Geraint D’Arcy, Richard Gough

Proposal Deadline: 14 February 2020

Hell is empty and all the devils are here.

The Tempest Act 1, Scene 2

In Kabuki the under-stage is known as the Naraku, literally translated as ‘Hell’. From the seriand suppon (types of trapdoor) demons ascend to the world of humanity and engage with the stage action. This issue of Performance Research is about the dark places under the stage, where things await their entrance.

David Wiles argues that the Greek and Roman stages may have been concerned with the horizontal action of human existence, but those theatres ‘used the vertical axis to articulate relations of human and divine’, while later theatre ‘focused its attention on … movement down to Hell, back up to earth and finally to heaven’ (Wiles 2003: 40). Pamela Howard established that there has long been an association with the ‘vertical height from above’ the stage used ‘to indicate divine space’ and, in contrast, ‘the depth below the stage floor as the demonic space’ (Howard 2009: 4). Under the wood-stage of nineteenth-century Europe was a hot, dark space of activity and anticipation. That depth was once vast and filled with machinery, devices, technicians and even menageries. Such spaces were used to reveal delights and create spectacle, acting as magic boxes full of wonder (D’Arcy 2012).

Contemporary theatre can be found in a multitude of spaces. All of them have an ‘above’, but very few now have an ‘under’. Those that do are either voids, spaces used for storage containing derelict machines or their traces, or rooms with modern contraptions rarely activated in the day-to-day running of the space above.

So where has Hell (and all its devils and magic) gone? In a contemporary theatre of presence and immediacy what now underlies the stage? How does what is not seen affect what is? This issue invites proposals that challenge or contribute to the histories or aesthetics of theatre technology and explore that which is specifically hidden or beneath the politics of space and body on the contemporary technologized stage.

Topics may include but are not in any way limited to:

The politics of technology in the theatre, of technical bodies or the politics of stage technology itself.
Historical accounts of stage devices and technologies and the intersections between stage technologies and the industry of visuality and spectacle.
Scenography and scenographic analyses of contemporary or historical theatrical or performative devices or spectacle.
Technologies of representation (of Hell or the Underworld) advanced through costume, make-up and stagecraft — for example in Kathakali or Balinese Dance.
Accounts of how new technologies update ancient narratives and how great world theatre traditions embrace technological advances in stage devices, apparatus and the inter-medial to evoke and populate the underworld (or other worlds).
Fresh takes on the aesthetics or poetics of stage machinery or theatre technologies.
The practices of spectacle creation, effect design or technologized staging.
Analysis of site-specific/site-responsive performances that have utilized underground spaces (caves, caverns, cellars, bunkers) to explore a scenography of the underworld.
The absence of stage technology (for example in Butoh) to evoke other worlds of darkness and catastrophic consequences of the technologies of destruction.
Contributions to the field of philosophy of theatre technology.
Schedule:

Proposals: 14 February 2020

First Drafts: June 2020

Final Drafts: September 2020

Publication: November 2020

Format:
Building on the Journal’s emphasis on the intersection of practice and theory, we welcome contributions from technicians, designers, scenographers, artists, poets, musicians, dancers and performance-makers, as well as scholars.

We encourage short articles and provocations. As with other editions of Performance Research, we welcome artist’s pages and other contributions that use distinctive layouts and typographies, combining words and images, as well as more conventional essays.

References:

D’Arcy, Geraint (2012) ‘The Yellow Soundan unstageable composition: Technology, modernism and spaces that should-not-be’, Body, Space & Technology12. DOI: http://doi.org/10.16995/bst.57

Howard, Pamela (2009) What Is Scenography?2nd ed., London: Routledge.

Wiles, David (2003) A Short History of Western Performance Space,Cambridge: Cambridge University Press.

Issue contacts:

All proposals, submissions and general enquiries should be sent direct to Performance Research at: info [arobas] performance-research [point] org

Issue-related enquiries should be directed to the issue editors:

Geraint D’Arcy: geraint [point] darcy [arobas] southwales [point] ac [point] uk

Richard Gough: richard [point] gough [arobas] southwales [point] ac [point] uk

General Guidelines for Submissions:

Before submitting a proposal, we encourage you to visit our website (http://www.performance-research.org) and familiarize yourself with the journal.
Proposals will be accepted by email (Microsoft Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side.
Please include your surname in the file name of the document you send.
Please include the issue title and issue number in the subject line of your email.
Submission of images and other visual material is welcome provided that all attachments do not exceed 5 MB, and there is a maximum of five images.
Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.

•••••

Call for Papers: MAB 2020 – Futures Implied
Amsterdam – Utrecht, The Netherlands, 23-27 November 2020

We cordially invite you to submit your contribution to the 2020 Media Architecture Biennale (MAB20) themed #FuturesImplied, that will take place 23 to 27 November 2020 in Amsterdam and Utrecht, The Netherlands.
The Media Architecture Biennale is the world’s premier event on media architecture, urban interaction design, and urban informatics, bringing together world-renowned architects, artists and designers, leading thinkers on urban design, key industry and government representatives, and students. The event offers workshops, symposia, a conference with an academic research track and keynotes by leading thinkers in the field. It closes off with a ceremony in which the biennial Media Architecture Awards will be presented to outstanding works of art, architecture and design. Our aim is to provide an excellent forum for debate and knowledge exchange; to offer a unique opportunity that brings together the best minds and organizations; and to highlight state-of-the-art and experimental research in media architecture.

MAB20  invites papers from academics, students, and industry practitioners that align to the theme Futures Implied and the sub-themes described below. The paper contributions should address current practices, discuss theoretical approaches, or present novel research that explore and further develop our understanding of media architecture through relevant case studies, design processes, and community and industry examples.

—

Important dates

•    Call opens: 1 December 2019
•    Paper submission deadline: 5 April 2020
•    Notification of acceptance: 15 July 2020
•    All revisions due and Camera Ready paper deadline: 20 September 2020

Preparing your submission

The conference invites research presentations from both academia and industry:

•    We invite papers with a minimum of six and a maximum of ten pages in length, in ACM format;
•    The papers should clearly explain the research question addressed, research methods and tasks, findings or results, and contributions of the work. Papers should also provide sufficient background and related work to situate and contextualize the authors’ work within a greater body of research;
•    Submissions should consist of original work not previously published or concurrently under consideration for any other conference, workshop, journal, or other publication with an iSBN, iSSN, or DOI number;
•    Authors must provide a 30-word contribution statement for their paper upon submission; the contribution statement should explain the contribution made by the paper to the Media Architecture community;
•    Papers will be peer-reviewed by multiple members of a program committee consisting of experts in a range of disciplines that shape media architecture;
•    Accepted papers will be published in the ACM Digital Library (approval pending).

Paper submission link: https://easychair.org/cfp/mab20. Submit by 5 April 2020.

—

MAB Theme: Futures Implied

The theme for the Media Architecture Biennale 2020 is Futures Implied. Papers should address one or more of the following issues:

●    The Aesthetics and Poetics of Responsive Urban Spaces: How can media architecture contribute to a sense of place, deepening citizens’ understanding of and attachments to local sites and making them more legible, imaginative, and inclusive?
●    Citizens’ Digital Rights in the Era of Platform Ecologies: How can media architecture articulate public values and allow citizens to govern through digital platforms, rather than be governed by them?
●    Playful & Artistic Civic Engagement: How can media architecture help to enact people-centric interventions through which citizens themselves learn, negotiate, and create innovations through play and games?
●    Restorative Cities: How can media architecture enable societies to regenerate socially, ecologically, and physiologically on multiple levels, from the individual to the city as an entity of systems?
●    More-Than-Human Cities: How can media architecture move beyond its legacy of human-centric design, and foster and embrace the well-being of the natural ecosystem as a whole?

About the Media Architecture Biennale

The Media Architecture Biennale is an initiative of the international Media Architecture Institute (Vienna/Sydney). After editions in Vienna, Aarhus, Sydney and Beijing, it is now organized by the Amsterdam University of Applied Sciences in collaboration with Utrecht University and a number of local partners from governments, cultural institutions, and the creative industries. Close ties to both research and industry are a central element of these events.

MAB20 will take place in Utrecht and Amsterdam, November 23-27, 2020.

An overview of all current and upcoming calls (Workshops, Papers, Demos & Posters, Late Breaking Work, Student Exhibition, Media Architecture Awards) can be found at our website.

www.mab20.org.

More information & Contact

Twitter: @MABiennale.
Facebook: facebook.com/MABiennale.
Website: http://www.mab20.org.

For inspiration, please have a look at the papers from MAB 2016 and MAB 2018:
https://mab16.org/pages/conference.php

Conference会议

Papers Chairs

Glenda Amayo Caldwell, Queensland University of Technology – g [point] caldwell [arobas] qut [point] edu [point] au.
Joel Fredericks, The University of Sydney – joel [point] fredericks [arobas] sydney [point] edu [point] au.

The Media Architecture Biennale 2020 is organized by the Amsterdam University of Applied Sciences in collaboration with Utrecht University.

www.mab20.org.

•••••

Association des groupes en arts visuels francophones

APPEL DE CANDIDATURES INCUBATEUR EN COMMISSARIAT 2e édition ÉTÉ 2020
L’AGAVF lance un appel aux commissaires émergent.e.s pour participer à la 2e édition de l’Incubateur en commissariat à l’été 2020. Cet atelier intensif de commissariat, prenant la forme d’une résidence de deux semaines avec l’accompagnement d’une commissaire-mentore, a comme objectif de soutenir les personnes souhaitant développer des initiatives en commissariat et de stimuler les projets d’expositions ou d’événements visant à mieux faire connaître les œuvres et les artistes visuel.le.s des communautés francophones du Canada.

Trois commissaires émergent.e.s œuvrant sur le territoire où évoluent des centres artistes et galeries membres de l’AGAVF (Atlantique, Ontario, Ouest) bénéficieront de deux semaines de réflexion et de création dans un lieu qui sera déterminé en considérant les propositions soumises. Les participant.e.s auront l’occasion de faire avancer leur projet grâce à divers ateliers de commissariat et d’écriture et à des rencontres régulières avec la commissaire Véronique Leblanc. Ils et elles profiteront de séances de lecture, de recherche et d’écriture individuelles, ainsi que d’échanges collectifs entre participant.e.s, avec des intervenant.e.s invité.e.s et avec des personnes du milieu artistique local. À la lumière de besoins convergents, des activités de professionnalisation seront également offertes. Des visites d’expositions réalisées par des commissaires professionnel.le.s sont également prévues, préalablement à une retraite de travail.

Véronique Leblanc est commissaire indépendante, auteure et chargée de cours en histoire de l’art à l’Université du Québec à Montréal. Parmi ses plus récentes expositions, on retrouve : Les histoires nécessaires (Galerie d’art Louise-et-Reuben-Cohen et Musée acadien de l’Université de Moncton, 2019), Chto Delat? Pratiques performatives de notre temps (Vox, 2018), Richard Ibghy & Marilou Lemmens. La vie mise au travail (Galerie Leonard & Bina Ellen, Montréal, 2016), Polyphonies (Optica, Montréal, 2015) et faire avec (AdMare, Îles-de-la-Madeleine, 2013). Diplômée de la maitrise en étudesdes arts de l’UQAM (2009), elle envisage les projets d’exposition qu’elle initie et les aventures pédagogiques dans lesquelles elle s’implique comme des occasions d’apprentissage partagées. Ses recherches portent actuellement sur l’imaginaire du commun en art actuel à travers un ensemble de pratiques artistiques qui combinent des approches collaboratives et performatives avec des stratégies documentaires.

CANDIDATURES ADMISSIBLES
L’incubateur en commissariat s’adresse aux commissaires émergents des communautés francophones et acadiennes ayant déjà réalisé au moins un projet de commissariat ou présentant un fort intérêt pour la conceptualisation et l’organisation d’exposition, ou encore pour l’écriture sur l’art concernant notamment le travail d’artistes de ces communautés. Des candidatures seront pré-sélectionnées par un comité incluant la commissaire-mentore et trois candidatures seront retenues suite à des entrevues téléphoniques.

DOSSIER DE CANDIDATURE
Le dossier de candidature doit comprendre:
• Une description de votre projet de commissariat ou de votre intérêt de recherche (2 pages) expliquant votre motivation à participer à l’incubateur, en précisant à quelle étape vous en êtes et ce que vous cherchez à accomplir (recherche, développement artistique, écriture, dimension éducative ou communautaire, aspects techniques ou logistiques, etc.).
• Un CV à jour contenant vos coordonnées.
• Une dizaine d’images avec légendes reflétant des projets antérieurs et le projet soumis.
• Des indications sur vos préférences concernant les dates de résidence entre le 1er juin et le
1er septembre 2020.

SÉLECTION DES CANDIDATURES
Date de dépôt : LUNDI 2 MARS 2020
Faites parvenir votre candidature à l’adresse courriel : lleblanc [arobas] agavf [point] ca Lise Leblanc, directrice générale de l’AGAVF
Téléphone : (613) 244-9584
Date de réponse : LUNDI, 30 MARS 2020.

INFORMATIONS PRATIQUES
Les frais de DÉPLACEMENT et de SÉJOUR sont à la charge de l’AGAVF (hébergement et per diem de 50$/jour pour la durée de l’incubateur incluant les déplacements).

FRAIS D’INSCRIPTION : 250 $

•••••

OFFRE D’EMPLOI

Poste : Directeur ou directrice du Labo nordique
Organisme : Galerie SAW Gallery

Type d’emploi
Poste à temps plein permanent situé à Ottawa

Salaire
50 000 $, plus avantages et occasions de voyager à l’international

Date de tombée pour déposer sa candidature
Le 7 février 2020

Date de début d’emploi
Le 2 mars 2020 (négociable)

Ce poste est ouvert aux candidat.e.s qui s’auto-identifient comme membres des Premières nations, Métis ou Inuits.

À propos de la Galerie SAW Gallery

Fondée à Ottawa en 1973, la Galerie SAW Gallery est un centre d’artistes autogéré à but non lucratif qui se consacre à la présentation d’œuvres en art contemporain. Aujourd’hui, avec son intérêt pour le développement de publics et l’action communautaire, la Galerie SAW Gallery est fière de rejoindre plus de 30 000 personnes par année. Le programme d’exposition audacieux du centre présente les travaux de nombreux artistes qui, souvent, ne sont pas pris en compte par d’autres institutions artistiques au Canada. Espace constamment en évolution qui comprend ses salles d’exposition, le Labo nordique, le Club SAW et la cour extérieure de SAW, le centre est idéal pour la présentation de performances, d’arts médiatiques et de nouvelles pratiques artistiques. Située dans la région de la capitale canadienne, SAW participe activement au discours politique sur la diversité culturelle, les droits des artistes et la liberté d’expression. SAW reconnaît et respecte la Déclaration des Nations Unies sur les droits des peuples autochtones.

À propos du Labo nordique

Le Labo nordique, dont l’ouverture est prévue pour l’été 2020, est une initiative de la Galerie SAW Gallery en partenariat avec le Conseil des arts du Canada. Espace de recherche et de production pour les artistes des nations circumpolaires, le Labo nordique fera partie intégrante du centre de 15 000 pieds (1 400 mètres) carrés, récemment agrandi, de la Galerie SAW Gallery au cœur d’Ottawa. En plus de programmes se déroulant à Ottawa, le Labo nordique créera des collaborations et fera la promotion d’échanges entre les communautés autochtones et non autochtones du Nord et des partenaires en Scandinavie ainsi que d’autres nations circumpolaires.

Profil de poste

Relevant de la direction générale, le directeur ou la directrice du Labo nordique sera responsable de la recherche, du développement et de la mise en place des divers programmes du Labo nordique (résidences, expositions, ateliers, tables rondes, performances et projets hors les murs). Le directeur ou la directrice du Labo nordique élaborera de nouveaux programmes réunissant artistes, praticien.ne.s et apprenant.e.s autochtones et non autochtones visant à faire progresser l’expression artistique autochtone contemporaine au Canada et à l’international, et pour répondre à des appels à l’action lancés par la Commission de réconciliation et vérité du Canada. Le directeur ou la directrice du Labo nordique travaillera dans le cadre de budgets affectés et aura également à identifier de potentielles sources de financement à l’extérieur, notamment des partenariats avec d’autres organismes et dans le milieu des affaires, auprès d’agences culturelles, de fondations et d’autres institutions pour augmenter les ressources existantes lorsque possible. Le ou la titulaire assurera la supervision d’une équipe évolutive composée d’un personnel contractuel, de stagiaires, d’étudiant.e.s et de bénévoles.

Exigences

– Au moins trois années d’expérience dans le secteur culturel;
– Diplôme universitaire en études autochtones, en études culturelles ou en histoire de l’art, ou une combinaison équivalente de formation et d’expérience;
– Connaissance spécialisée de l’art autochtone avec une large compréhension des pratiques artistiques contemporaines au Canada et à l’international;
– Connaissance et compréhension des réalités auxquelles font face les communautés nordiques autochtones;
– Expérience de travail avec les communautés autochtones;
– Intérêt à travailler dans un environnement multidisciplinaire avec un accent marqué pour la diversité et l’expérimentation;
– Compétences exceptionnelles avérées en communication à l’oral et à l’écrit, et expérience dans la production de textes d’exposition et de promotion;
– Expérience dans la gestion de budgets liés à des projets et dans les demandes de subvention;
– Capacité de travailler sous une direction et dans une équipe;
– Compétences organisationnelles supérieures et capacité de mener plusieurs tâches de front et de gérer un horaire très chargé et différentes dates de tombée exigeantes qui se chevauchent;
– Connaissance approfondie de Microsoft Office, incluant PowerPoint, Excel et Word;
– Capacité de parler une langue autochtone et/ou aisance à s’exprimer en français et en anglais serait un atout.

Pour poser sa candidature

Veuillez faire parvenir par courriel une lettre de motivation, un exemplaire de votre curriculum vitae ainsi qu’un à trois exemples de vos écrits à info [arobas] galeriesawgallery [point] com d’ici le vendredi 7 février 2020.

Nous remercions de leur intérêt toutes les personnes qui déposeront leur candidature; cependant, seulement celles retenues pour une entrevue seront contactées.

https://mailchi.mp/galeriesawgallery/inside-out-galerie-saw-gallery-present-prsentent-tom-of-finland-3816929

•••••

Curator
Cambridge Art Galleries/Idea Exchange

Deadline: February 7

Seeking a dynamic candidate who is experienced in exhibition and collection development, contemporary art, community engagement, and grant writing, to fulfill a key leadership position on the team.

Read more

•••••

revue esse art+opinion

À l’heure où les sociétés doivent composer avec l’imminence des changements climatiques, l’explosion démographique planétaire ou la “singularité” technologique, on voit apparaître dans la littérature et les arts la marque d’un changement de paradigme profond concernant une conception de l’avenir. Se référant aux potentialités performatives du futur, la futurité (traduction du terme anglais “futurity”) s’inscrit dorénavant comme une philosophie de « l’à-venir » offrant de nouvelles avenues théoriques pour penser une suite du monde plus positive hors des schèmes traditionnels de l’utopisme critique.
[…]
Envisager l’art dans sa futurité, c’est […] croire en sa capacité de créer des formes de vie, des modalités de relation novatrices. C’est réinvestir de bonne foi la capacité de l’art de créer de nouveaux mondes, de faire avec les possibles d’une humanité traversée de blessures et de violences, et de se saisir de l’expérience du présent dans l’intention d’en infléchir politiquement et éthiquement la trajectoire.
[…]
Pour souligner la parution du centième numéro de la revue et marquer sa volonté de se projeter vers l’avenir, quel qu’il soit, Esse arts + opinions invite les auteur.e.s et artistes à proposer des textes qui interrogent les enjeux de la futurité à travers ses diverses déclinaisons artistiques (réactivation d’archives, relecture critique et décoloniale de l’art, de ses histoires et de ses objets, pratiques post ou transhumanistes, etc.).
[Appel de textes + Politique éditoriale]

•••••

NOUVELLE DATE LIMITE : 1er février 2020

Verticale, Laval

— Commissariat à la Villa

Ce programme ponctuel permet de soutenir le travail d’un ou d’une commissaire ayant pour mandat d’inviter deux artistes ou collectifs artistiques à réaliser des résidences à la Villa — véhicule d’arts actuels et numériques à l’été 2020.

En enrichissant la programmation régulière de ce volet additionnel, VCA veut favoriser le développement d’une pensée critique autour de l’objet Villa et de ses potentialités (création, réception, diffusion, médiation, mobilité, adaptabilité, etc.)

Les pratiques sélectionnées doivent être en arts numériques et/ou favoriser l’utilisation des outils du numérique dans la création et la diffusion en art actuel. Cette programmation à la Villa agira en complémentarité de la programmation annuelle, en cohésion avec la thématique « Trouble, émoi et systèmes ». + Lire l’appel annuel

…
Lire et télécharger l’appel complet.

•••••

Qu’est-ce que RAW Académie ?
RAW Académie est un programme résidentiel expérimental pour la recherche et l’étude de la pratique et de la pensée artistique et du commissariat d’exposition. Le programme se déroule à Dakar pendant 7 semaines. Il invite à mener une réflexion dynamique sur la recherche en art, la pratique du commissariat d’exposition et l’écriture critique. Deux sessions distinctes ont lieu chaque année. La session 8 sera dirigée par les écrivains Yemisi Aribisala et Siddhartha Mitter. La session se tiendra du 4 mai au 19 juin 2020.

Détails

•••••

VECTOR FESTIVAL 2020: AFTER GAMIFICATION
OPEN CALL FOR ARTWORKS AND CURATORIAL PROPOSALS
Deadline: February 01, 2020

Vector Festival is an annual media arts event dedicated to showcasing experimental art works that engage critically with digital technologies.

The festival is proudly participatory and community-oriented. Hosted by InterAccess and co-curated by Katie Micak and Martin Zeilinger, Vector Festival takes place at arts venues and in public spaces across the City of Toronto.

Since its inception, Vector Festival has been innovative in its inclusion of game-based digital art alongside other new media disciplines. Continuing this focus for the 2020 edition, the festival’s curators pose a deceptively simple question: what comes after gamification?

Now that game culture and game technologies have become so pervasive in popular culture, how do experimental media artists respond critically to the rampant gamifying of everyday life? From online social interaction to digital finance, from education to military conflict, from politics and environmental issues to the ways in which humans (and machines) express themselves creatively, what comes after gamification?

The Festival will take place between July 16-19, 2020, with the flagship exhibition extended until August 22, 2020.

Please note that Vector Festival does not charge submission fees to artists applying to participate.

All artists and curators selected for participation will receive fees in accordance with the up-to-date CARFAC Fee schedule, as well as support to apply for external funding.

We invite art submissions of digital – and post-digital – works for the following festival categories:

Flagship Exhibition
Digital and post-digital art works including interactive installations, experimental game mods, sculptural work, screen-based work, sound art, etc.

Online Projects
Web-based projects and digital artworks that can be presented online, including experimental interactive and time-based digital projects.

Festival Screening
Experimental film/video/machinima works.

Performance
Performance-based proposals including chiptune, sound art, live coding, A/V performances, and telematic performances for virtual and public spaces.

Site-Specific Outdoor Screening
To be presented on two large-scale (4.88 x 8.64 m) outdoor LED screens for a public audience of all ages.

GIFs
Animated GIFs intended for presentation on public screens across Toronto.

Curatorial submissions
This year, we also invite curators/curatorial collectives to submit proposals for machinima screenings (on a theme of your choosing). If you are considering a curatorial submission, we encourage you to contact the Vector Festival team for additional practical details.

SUBMISSION REQUIREMENTS

Please submit the following details using our online application form:

Project description (approximately 300 words)
Documentation (maximum of five images, and/or link to audio/video documentation)
Description of technical requirements (please outline materials provided by the artist and materials required from the exhibiting venue)
Artist biography (approximately 100 words)
Please indicate if your work has a thematic, conceptual, or historical connection to Toronto, or if you have a biographic connection to the Greater Toronto Area
Current CV
If you have questions about submitting your application please contact vector [arobas] interaccess [point] org.

About Vector Festival

Vector Festival is a participatory and community-oriented initiative dedicated to showcasing experimental media art practice. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector Festival acts as a critical bridge between emergent digital platforms and new media art practice. Vector Festival was founded in 2013 as the “Vector Game Art & New Media Festival” by an independent group of artists and curators: Skot Deeming, Clint Enns, Christine Kim, and Katie Micak, who were later joined by Diana Poulsen and Martin Zeilinger. In 2015 Vector Festival announced that longtime presenting partner, InterAccess, would be taking over responsibility for the festival as part of its regular programming.

About InterAccess

Founded in 1983, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. Our programs support art forms that integrate technology, fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition. InterAccess is regarded as a preeminent Canadian arts and technology centre.

For more information contact:
Festival Curators, Katie Micak and Martin Zeilinger
vector [arobas] interaccess [point] org

•••••

Review Series Call for Papers
CMA Journal // SFU School for Contemporary Arts

The Comparative Media Arts Journal is pleased to invite individuals to submit to an ongoing
call for re-views. Supplementary to CMAs semi-annual themed issues, the review series is a
continuous academic platform that asks scholars, artists, curators, writers, and post-
secondary students of all levels to engage in critical contemplation and reviews of
exhibitions, art events, and
publications.

Reviewed monthly by the managing editors of the CMA board, the submissions must
demonstrate a clear, conceptual, and insightful understanding of their source material. In
addition, all reviewers should author a critical and comparative position of the exhibition,
event, or book that they are reviewing. Exhibitions reviews should carefully consider the
character, practice, and concept of exhibited artists

as well as artworks while also critiquing the curatorial methodologies behind the exhibition.
Do the curatorial intentions as outlined by texts and the structure of the exhibition support
the artistic content? Does

the artistic content support the exhibition/institutions intentions? Is the relationship between
the artworks and curation dynamic and innovative? In what ways are the exhibitions
successful at harbouring conversations, considerations, and possibilities for the future? In
what ways is the exhibition lacking at making an affective and effective experience
for
diverse audiences? Reviews of art events  » which can include exhibition programming
such as artist talks, curatorial tours, workshops, and so on » should summarize the scope of
the event and its intentions while also

analyzing its success as a tool for public engagement and learning. In what ways did the
event succeed in engaging a deeper understanding of a practice, institution, or stream of
thought? As a participant and active member of the audience, how could the event have
been improved to engage a deep and contemplative understanding of its material? In what
ways did the curator or artist administering a talk, tour, or workshop engage an
understanding of their curatorial or artistic process? As a knowledgeable reviewer, what is
your critical opinion of their positions, ideas, and methods?

Similarly, book or article reviews require a developed summary and analysis of the authors
positions and arguments. Who does the publication serve? What kind of researcher would
benefit from engaging

with it? Additionally, publication reviewers should demonstrate a comparative analysis
between the content of the reviewed subject and their own developed research interests.
Using their own knowledge of particular subjects, what sorts of ideas regarded in the publication can be expanded on or are innovative approaches to considering particular concepts?

The content of reviews are not limited to these suggestions. Other formats of creative
practice can be analyzed such as films, concerts, theatre and so on. However, it is
imperative that all reviews demonstrate a position of critique and an understanding of
contemporary curating, artistic practice, or arts programming.

As a platform the review series works to bring awareness to the diverse and creative
happenings in Canadian and international art communities. The review series also provides
an opportunity for individuals to develop and articulate critical points of view in relation to
diverse art practices as an open-access platform for publication.

Accepted reviews can range from 500-1500 words in length. All submissions should follow
the Chicago Manual of Style and utilize in-text citations.

Reviews will be accepted and considered on the last day of each month and published
shortly there after. The next deadline for submissions will be November 30th 2019. Any
review submitted after the deadline will be considered for publication the following month.

Please submit all formatted and properly edited reviews to Mallory Gemmel at
cma_journal [arobas] sfu [point] ca including ATTN REVIEW SERIES in the subject line.

Should your review be accepted for publication the journal will reach out to provide a writers
contract and CMA formatting guidelines. We thank you for your interest and encourage all to
submit work. On occasion, rejected submissions may be considered for publication should
editing suggestions and requirements be met.

•••••

off centre is an online publication dedicated to writing about contemporary art and artists

outside of large metropolitan centres. We believe it is important to provide opportunities for
and highlight the practices of artists, writers, and curators who produce and exhibit in these
regions, challenging the expectation that culture emerges in the centre and works its way
beyond.

off centre is seeking submissions for critical writing about artists, exhibitions and art related
events that take place outside of large Canadian art centres such as Toronto, Vancouver
and Montral.

We are looking for:
– Critical short form reviews (500-1000 words)
– Interviews
– Studio visits with artists

Submissions must include:
– CV (2-3 pages)
– Bio (150- 250 words)
– title of show, venue name, full list of artists (and curators if applicable)
– additional contact info including: email address, website, social media handles
– Short pitch (200 words max) for a piece you are working on or would like to write, along
with a two-page writing sample, demonstrating your style and experience OR
– A completed article or review that has not previously been published (500  » 1000 words)

Successful applicants must provide images of the exhibition, performance, or event for
reference for the published piece, with photo credit, or access to professional documentation

off centre believes that art writing should be accessible to a broad audience and not feel
exclusionary to those who do not have an academic background. Please write clearly and
provide context / definitions for any specific terminology.

Compile all submission material into a .docx or .pdf file and email your submission to
info [arobas] weareoffcentre [point] com

There is no submission fee

Successful pieces will be published on our website and promoted through our social media
channels. An honorarium will be paid upon publication.

off centre is committed to working with artists, writers, and curators who are considered
emerging, Indigenous, racialized, Queer, working in alternative practices and abilities, from
diverse cultural backgrounds, or otherwise underrepresented.

Please direct all questions to info [arobas] weareoffcentre [point] com