ARCOlisboa 2017| Open call

ARCOlisboa 2017
Dates : 18–21 May 2017
Deadline for applications: 10 -01-2017

ARCO and IFEMA are pleased to announce the launching of ARCOlisboa's second edition. The outstanding reception of the first edition is the driving force behind this project. Following the opinions of the galleries, artists, collectors and the local scene, the Fair will subtly grow, adapting to the Cordoaria Nacional iconic building.
Quality of contents is ARCOlisboa 2017's main objective. The Fair aims at becoming a major artistic and social event in the Portuguese capital between May 18 and 21. In this edition, the General Program will host about 50 galleries selected by the Organizing Committee after the analysis of all submitted projects. The quality of the projects of the participating galleries and the city's own cultural activity will be the key attractions to lure international collectors, well-known professionals and the general public.
Lisbon is becoming a favorite destination for interesting gallery projects from different parts of the world who have decided to open there their main headquarters or a second branch. The confirmation of this fact has led to the new Opening section in ARCOlisboa; a program that will count with the participation of around ten national and international galleries that are under seven years old and that will be selected by João Laia, a Portuguese writer and curator, currently based in London.
The world of art will again look at Lisbon, a city that has thrown itself into contemporary art. Together with this enthusiasm, we have the support from institutions, galleries and collectors to the Fair through varied exhibitions and events that create opportunities to meet with ARCOlisboa's participants and guests.
Moreover, all this will take place during a specially dynamic moment in the country's art scene thanks to the new space in the Museu de Arte, Arquitetura e Tecnologia (MAAT) by the Fundação EDP, new galleries and non profit spaces, and the appointment of Lisbon as 2017 Ibero-American Capital of Culture 2017. On this occasion, ARCOlisboa will host meetings and activities linked with Latin America that will gather outstanding professionals of the art world, like for instance the Meeting of European and Latin-American Museums, among others.

Cordoaria Nacional
Avda. da India, s/n


KÖLNER LISTE 2017 | Open call

Fair dates are 28 – 30 April 2017 | deadline for applications : 31 January 2017
As the sole satellite art fair to Art Cologne, the fair presents a broad range of international contemporary art at affordable prices. KÖLNER LISTE will be held at the historical XPOST, a former post office building in downtown Cologne. A shuttle service between the two fairs will be available throughout the duration of the fair. Applications  are open until January 31st. Galleries, project groups and artists are cordially invited to apply. The application is free of charge. Having captured the continuing and growing interest of the public over the last years, we will be expecting over 100 national and international exhibitors and more than 10,000 visitors.
The fair's principal curatorial position is focused at facilitating a direct dialogue between young collectors and art lovers and a diverse range of international artists, while bringing contemporary art closer to not only the more traditional audience of Art Cologne but also to new target groups. In that scope, KÖLNER LISTE will be assisting young collectors by offering special lectures and guided tours.
more information about the sections of the fair >>>
If you would like to join KÖLNER LISTE 2017 by presenting your program please apply here.

Pichler | Radical: Architecture & Prototypes @ Salzburg

Pichler | Radical: Architecture & Prototypes
26 November 2016 – 5 March 2017
Museum der Moderne Salzburg

Curators: Sabine Breitwieser, Christina Penetsdorfer

The Museum der Moderne Salzburg proudly presents a grand retrospective surveying the work of Walter Pichler spanning five decades. Crossing the boundaries between architecture, design, and sculpture, Pichler was one of the most idiosyncratic artists of his time. From his early architectural visions across the series of Prototypes to his recently realized building projects, the exhibition shines a spotlight on an oeuvre that continues to inspire artists working today. The presentation includes a wealth of previously unpublished material.
A native of South Tyrol, the Austrian artist Walter Pichler (1936, Deutschnofen, Italy–2012, Vienna, Austria) first drew notice in the early 1960s with architectural designs and models that were as radical as they were utopian. The series of what he called "Prototypes" (1966–69) Pichler developed over the following years laid the foundation for an international artistic career that was virtually unparalleled at the time. Trained as a graphic designer, Pichler worked in sculpture and design, pushing the boundaries between these disciplines and architecture. At a relatively young age, he had work showcased in celebrated exhibitions and renowned museums: at the Museum of Modern Art in New York (1967 and 1975), the 5th Biennial in Paris (1967), the 4th Documenta in Kassel (1968), and the Austrian pavilion at the 40th Venice Biennale (1982). As his international reputation rose rapidly, Pichler, in 1972, retreated to a farm in St. Martin, a village in the Austrian state of Burgenland, where he worked in isolation from the art world to realize his vision of the ideal structures to house his sculptures. Still, he was regularly prevailed upon to present his work in museum exhibitions, submitting his art to the scrutiny of these institutions and its audiences. Beginning in the late 1980s, Pichler’s work was shown in a series of major retrospectives, for instance at the Städel Museum in Frankfurt am Main (1987), the Austrian Museum for Applied Arts (1988 and 2011) and the Generali Foundation in Vienna (1998), or at the Stedelijk Museum in Amsterdam (1998). Walter Pichler died in Vienna in 2012 and the exhibition coincides with his eightieth birthday.
The comprehensive retrospective the Museum der Moderne Salzburg dedicates to this influential artist proposes a new perspective on his early radical architectural designs and the iconic "Prototypes" series, which are considered here in conjunction with his design projects and realized buildings, including recent projects. Around 230 works, including a wealth of previously unpublished material, on display in the spacious galleries on level [4] of the Museum der Moderne Salzburg’s Mönchsberg venue illustrate the extraordinary range of the artist’s oeuvre. “Our longstanding close relationship with Walter Pichler—we worked together on several projects—and now with the Pichler Archive, and thanks to the permanent loan of the Generali Foundation Collection, which has the single largest collection of 'Prototypes,' to the Museum der Moderne Salzburg enable us to draw from a wealth of resources for this retrospective, which also presents previously unpublished materials to the public,” Sabine Breitwieser, director of the museum and curator of the exhibition, underscores. “The exhibition is further enhanced by important works on loan from the artist’s estate and numerous other collections and offers visitors vivid impressions of Pichler’s buildings through films we commissioned specifically for this purpose,” the curator emphasizes.

more>>>  http://www.museumdermoderne.at/

empty pr(oe)mises | Greece | open call

empty pr(oe)mises | Greece | open call
deadline:  1 December , 2016 

EMST (The National Museum of Contemporary Art, Athens), in collaboration with the Museum of Contemporary Cuts, Leonardo Electronic Almanac (MIT Press) and with Arts Administration @ Boston University launches a call for artworks open to international artists on the theme of empty pr(œ)mises.
empty pr(œ)mises, conceived and curated by Lanfranco Aceti and Katerina Koskina, will focus on the intertwining of the words promises and premises.
How does one inhabit emptiness? For this project artists are invited to visualize and localize within the space of the National Museum of Contemporary Art, Athens (EMST) the struggle between the promises of future ideas and the processes of their realizations in the empty premises which should host them.
The promises clash against the reality of the premises which oblige a re-evaluation of the idea itself, but also of our identity in relationship to the promises made. The infinite possibilities of realization embedded in the promises of a space and the restrictions of contemporary spatial and socio-political realities inherent to the premises entangle with the role that the virtual and physical premises play both as space and context. These multiple interconnections can either support or disrupt the potential fulfillment and manifestation of the functions of promises and premises.
In the complex entwining and conflicting negotiations of ideas, placemaking, materials and technologies as well as architectural and engineering structures, lies the artists and curators’ struggle in defining art spaces, processes, interventions and materializations. These are a reflection of socio-political and cultural phenomena that shed a light on the ontology of an aesthetic that is both of being and becoming.
The artworks, as projects in fieri (in development), because of their very nature of proposals – similarly to architectural projects – will define and shape the emptiness of the space of the EMST, bringing to light the infinite arrays of creative and aesthetic possibilities.
These aesthetic propositions, contrary to architectural projects, will not remain at the stage of ideas but will be collected in a publication by the Leonardo Electronic Almanac – MIT Press.  In this publication each artist’s proposed artworks can be displayed over ten pages, or ‘spaces’, with images in full colour. The collection thus created with multiple proposals will embody the role that the EMST could play in both the international and national contemporary art scenes.

The artists’ proposed images will also be displayed on the online space of the EMST and the Museum of Contemporary Cuts (MoCC) – creating a public archive of ideas. Each image will also be disseminated via social media. The existence of these proposals for the empty premises of the EMST holds the promise of their possible realization in the physical space of the museum. In this time of blended spaces and activities which transition publicly between the conceptual space, the virtual display and the physical realization – not necessarily in a pre-established and orderly fashion – the physical embodiment of an artwork is not strictly linked to its original location. The realm of possibilities are embedded in the premise (intended here as a conceptual assertion) of the artwork and these are increasingly unbound from the restrictions of the social-political realities that characterize the locus in which the project originated.
For their proposals we ask that artists consider all of the above, with special consideration to the context of this project rooted in the long awaited building of the EMST (National Museum of Contemporary Art, Athens) which was built to host an important international collection of contemporary art. The impact of the financial crisis has left a new and completed empty building, at the very centre of modern-day Athens, suspended and awaiting the realization of its function: trapped in between promises and premises, realities and virtualities, local and international expectations.
Application Details
To be considered for this project please provide the following:
>>> Phase 1 – Deadline by December 01, 2016
1) Expression of interest which should include your contact details, mobile number and email address. At this stage you can state via email that you are committed in making a submission. Please send your email to the following address: emptyproemises.emst@gmail.com by December 01, 2016.
>>>> Phase 2 – Deadline by March 01, 2017 

For the catalog proposal please submit a project for the EMST space – description, details and restrictions are attached. Even if there are restrictions to the physical space – as in all projects – we ask artists to envisage as a daring project as possible in total freedom: every medium and every practice are acceptable (including but not limited to: Internet art, conceptual art, performance, sculpture, painting, installation, etc.). We would like to receive innovative, daring and audacious usages of the space that challenge traditional perceptions of aesthetics and roles of contemporary art museums. For your proposal to be considered, please provide the following:
>>>> Minimum 10 to maximum 15 images at high resolution for print publication. Measurements for the high resolution images’ dimensions for publication are as follows: A single full page image should be at least 18,5 cm (width) x 26 cm (height) and must be at 300 dpi minimum, .TIFF preferred (otherwise .JPG). A double spread (an image on two adjacent pages) should be at least 36,2 cm (width) x 26 cm (height) and must be 300 dpi minimum. All images should be named as follows: Number_FirstName_LastName_Print, e.g. 01_John_Smith_Print
>>>>>All images and documentation should be provided with a Dropbox link. The Dropbox folder containing all the submission materials should be named as follow: FirstName_LastName_EMSTep e.g. John_Smith_EMSTep
>>>>>The link should be emailed to emptyproemises.emst@gmail.com with the subject of the email: EMSTep – FirstName – LastName, e.g. EMSTep – John – Smith
>>>>>There should also be a Word document .doc or .docx (no other documents will be accepted) with the following information in the given order 1) First Name and Last Name 2) Postal Address 3) Email 4) Phone Numbers (a landline and a mobile number) 5) Biography (500 words) 6)  Artist Statement (500 words).
>>>>>In a second .doc or .docx Word document named FirstName_LastName_Captions, e.g. John_Smith_Captions.doc there should be all the captions. Caption should be numbered in sequential order from 01 to 15 and their numbers should correspond to the numbers in the images filenames in order to avoid errors. Captions should follow this convention: Artist’s First Name and Last Name, Work Title (in italics), Year of Production. Medium or Media.
>> For the display of images on the EMST website, on Leonardo Electronic Almanac (MIT Press) and the Museum of Contemporary Cuts we will need:
>>>>>>Minimum 15 to maximum 30 images and videos. Images sizes are as follows: 2000px wide at 1200px high suitable for web (72dpi).
>>>>>>>All web images should be named as follows: Number_FirstName_LastName_Web e.g. 01_John_Smith_Web
>>>>>>>>In a .doc or .docx word document named FirstName_LastName_Captions_Web, e.g. 01_John_Smith_Captions_Web.doc there should be all the captions for the web images. Caption should be numbered in sequential order from 01 to 30 and their numbers should correspond to the numbers in the images filenames in order to avoid errors. Captions should follow this convention: Artist’s First Name and Last Name, Work Title (in italics), Year of Production. Medium or Media.
>> For copyright release please sign copyright agreement for publication, online distribution and exhibition.
Curatorial Statement
Application Package, PDF
Ground Plan, PDF
Publication Agreement Form, PDF
Image Release Form, PDF

 more >>>  museumofcontemporarycuts.org

Nairy Baghramian @ S.M.A.K | Gent | Belgium

Nairy Baghramian | Déformation Professionelle

curator, Martin Germann
duration  26.11. 2016 - 19.02.2017
S.M.A.K | Gent | Belgium
Baghramian (b.1971 in Isfahan, Iran; lives and works in Berlin) explores and reflects on the formal languages of both modernism and post-minimalism. The sculptor has become internationally known for making exhibitions by means of sculpture and site-responsive installations that play on the human body and its gestures, which are both revealing and dissembling. Her work marks boundaries, transitions and gaps in the museum and urban space, whereby she focuses on the relationship between body and building and refers to fashion and design, theatre and dance.
Using material such as curved steel sheets and soft rubber, geometric frameworks and hybrid objects, mirrors, plastics, waxes and fabrics, as well as cast and combined materials, Baghramian scrutinizes the paradigms of the sculptural. In doing so, she challenges the spaces where she exhibits, within the area of spatial tension that is inseparably linked to her artistic production.
Déformation Professionnelle comprises a series of new sculptures and installations that build on the key works in Baghramian’s oeuvre over the last fifteen years. For this purpose she has reinterpreted not only the works themselves, but also the tools and other work materials that she used in making the artworks. In this exhibition, Baghramian in this sense criticises, emphasises and stretches the concept of the ‘retrospective’. Through her playful take on the retrospective view, she unpacks and interrogates the conceptual, economic, physical and social aspects of sculpture.
Taking its title from a French phrase that indicates an adjustment to one’s worldview that results from being overly specialized or an expert, Déformation Professionnelle also speaks of analysing one’s profession or métier: in this case the artist’s method.

Nairy Baghramian | Déformation Professionnelle is co-organized by S.M.A.K., Ghent, Museum der Moderne Salzburg, Salzburg, and Walker Art Center, Minneapolis.
The exhibition will be accompanied by the publication of the first comprehensive monograph on the artist’s work, published by S.M.A.K. (Ghent), Museum der Moderne Salzburg (Salzburg) and Walker Art Center (Minneapolis). The publication will be released in the course of the exhibition tour.
Exhibition Tour
The exhibition will travel to Museum der Moderne, Salzburg, in March 2017, and to the Walker Art Center, Minneapolis, in October 2017.

S.M.A. K.
Museum of Contemporary Art
Jan Hoetplein 1,
9000 Gent | Belgium


Marie-Laure Fleisch Gallery opens new space in Brussels

Marie-Laure Fleisch Gallery opens new space in Brussels 
Santiago Reyes Villaveces | Reside
curated by  Eugenio Viola 
20 April - 28 May 2016
13 Rue Saint Georges | 1050 Brussels

 The Galerie MLF | Marie-Laure Fleisch inaugurated its new space in Ixelles, the contemporary art district of Brussels par excellence. The opening show is the site-specific project of Santiago Reyes Villaveces Reside.it is as a part of Art Brussels’Gallery Night.
Next to its complex polysemy linked to its figurative use, the verb to reside (from the Latin residēre) also indicates the legal and administrative choice of a particular residence in a specific place; or more generally, it denotes the choice of a fixed abode, or a place where one sojourns for a more or less stable period. This last meaning of the verb to reside expresses the modus operandi of Santiago Reyes Villaveces to create this exhibition: both his sojourn in the Belgian capital and the specificity of the exhibition space determined the conceptual parameters of his work.
The research of Reyes Villaveces confronts itself with the Brazilian Neo-Concrete tradition and the Tropicália Movement, in specific the work of Hélio Oiticica and Lygia Clark, and the poetics of the fragment inspired by Jorge Luis Borges. From the former, he derives a sense of transitivity and precariousness of the work; from the latter, a concept of the fragment as a representation of an aesthetics of ruins, interpreted in a non-romantic sense.
The artist’s preferred medium is sculpture, of which he explores its various possibilities, analysing different categories and the physical structures of materials. Therefore, his work tends towards a reciprocal system, in which the relation between materials, their form and collocation in space are destitute from any hierarchical organisation. Its plastic vocabulary creates a minimalist language, expressed in what the Colombian artist defines as an “immanent/silent architectural sensibility”, traced from the precarious structures that form the daily routine of cities he lived and worked: Bogotá first and foremost, and in this specific case, Brussels.
Cities can be considered as never-ending building sites swarming with objects that express a relentless tension between their residual and structural state. These objects lie at the heart of the artist’s practice, making objets trouvées the primary materials of his work. In his process of creation, they play a transitory function: residues or fragments of former constructions and a wide range of materials intelligently assembled, rendered un-functional and simultaneously raised to the level of art work, are used to study the expressive and formal possibilities of objects, and their interaction with space and light.
Reyes Villaveces's work stretches the physical limits of matter, challenging the concepts of scale, volume, weight, tension, gravity, surface, resistance, pressure, limits, perspective and depth. His sculptures are represented as singular and visually forceful instruments originating from a short circuit between matter and surface, from mass and structure, expressed both as the synthesis of form and proportion that each single work takes on in respect to the rest. In this way, a few simple elements, sharply positioned in the exhibition space, question the sense of perception, and as such activate a relation between the architecture of the exhibition space, the viewer’s perception, and the temporal element of the viewing experience.

Marie-Laure Fleisch Gallery
3 Rue Saint Georges | 1050 Brussels
more at  http://www.galleriamlf.com

* photocredit of images : Art News Bulletin


Olga Georgieva: Out on the Other Side @Bulart Gallery

Olga Georgieva | Out on the Other Side
22 March -10 April 2016
Bulart gallery | Varna BG

Olga Georgieva for Out on the Other Side:
"My artistic journey has often defined by autobiographical motifs and experiences. Also, relations between people always are interested me. In my works that I created in recent years, also I'm concerned the term "regime". Perhaps we all live within a regime that is invisible and is governed by the laws of our mind. I began to use the red  color as a sign of that limit. Our solutions - who allow us and who leave a distance - its are determined by this "frontier". Its cleavage is impossible. We only "shift" the border because our mind , it does not allow us to do it."  
  Olga Georgieva (1986 Varna ,Bulgaria ) lives and works in Vienna since 2005. Graduated from the National School of Arts " Dobri Hristov " in 2005 Varna and in 2012 from the University of Applied Arts, Vienna, Austria, in „Graphics" department, in the class of professor Jan Svenungsson. She works in the field of drawing, graphics, installation and video. She is interested in human interactions in real time and she sets her works into rhetorical questions about existence. Olga has taken participation in prestigious group exhibitions, festivals and curatorial projects in Bulgaria, Germany, Austria, the Netherlands, Japan, Finland, Spain, Taiwan and others. She has severeal solo exhibitions and performances in Bulgaria, Austria,germany, france, Spain, Pussia, China ecc . Her works are in the collections of the Museum Angerlehner and Immobilien GmbH, Wales; Red Carpet Collection, Vienna ; the collection of the association Friends of Fine Arts, Vienna, and in the collection of the University of Applied Arts Vienna. She was the resident of the creative program at HuanTie Times Art Museum, Beijing, China. In Austria Olga is presented by Steinek gallery, Vienna and Bulart gallery (BG/BE).


Bill Viola @Brussels during Klara Festival


save the dates: 9-24 March 2016 
Cathedrals of St Michael and St Gudula| Brussels
Co-production: BOZAR EXPO, Klarafestival

 Bill Viola |Earth Martyr, Air Martyr, Fire Martyr, and Water Martyr (all 2014)
Color High-Definition videos on plasma displays mounted vertically on wall,107.6 x 62.1 x 6.8 cm- each;
Executive producer: Kira Perov; Performers: Norman Scott, Sarah Steben, Darrow Igus, John Hay
Courtesy Vanhaerents Art Collection, Brussels; photocredit: Klara Festival
During the Klara Festival, BOZAR will be presenting the video installation Earth Martyr, Air Martyr, Fire Martyr & Water Martyr (2014) by the American video artist Bill Viola, at the Cathedrals of St Michael and St Gudula in Brussels. Last year the work was presented at St Paul’s Cathedral in London. On four plasma screens you watch as four martyrs are exposed to the invincible forces of nature. The video ends with a blinding light that shines on the four dead martyrs. This represents their arrival in the hereafter. Viola wants to give the public a visual pause for reflection on subjects such as death, the hereafter, compassion and sacrifice. The work expresses his great admiration for the celebrated masters of painting. At the same time, he tells a story about major human emotions.
Bill Viola ( b.1951) is widely recognized as one of the leading video artists on the international scene. For over 30 years he has created videotapes, architectural video installations, sound environments, electronic music performances, and works for television broadcast. Viola’s video installations envelop the viewer in image and sound employ state-of-the-art technologies and are distinguished by their precision and direct simplicity.Since the early 1970s, Viola has used video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences birth, death, the unfolding of consciousness and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian mysticism. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to expand its scope in terms of technology, content, and historical reach.

1000 Brussels
Mo& Fri - 07:30 - 18:00
Sat  07:30 - 15:30
Sun 14:00 - 18:00
Free entrance

Francophonie cultural mobility programmes

Francophonie cultural mobility programmes
Deadlines: 30
March 2016 ; 15 April 2016

Applications are invited from eligible individuals and organisations for two cultural mobility initiatives of the Organisation Internationale de la Francophonie. « En Scène ! » offers grants in performing arts field for touring and network building. « Édition Limitée » supports training  of fashion designers and creators of luxury articles.
There are specific conditions for eligibility and all the information for applicants is in French.
Check the map of the Francophonie member countries to see if you may be eligible to apply. This includes Austria, Belgium, Bulgaria, Cambodia, Cyprus, Croatia, Estonia, France, Greece, Hungary, Laos, Latvia, Lithuania, Luxembourg, Poland, Czech Republic, Romania, Slovakia, Slovenia, Switzerland, Thailand and Viet Nam. 
Programme « En Scène ! » (Filière théâtre, danse et musique) >>deadline: 30 March 2016

• Pour les structures des pays francophones du Sud et ceux d’Europe centrale et orientale, il s’agit d’encourager la consolidation des réseaux de professionnels régionaux et l’interaction de différents acteurs/espaces artistiques et culturels autour d’un projet commun inscrit dans une dynamique territorial.
• Pour les Pays du Nord, il s’agit de valoriser la complémentarité des compétences avec les structures des pays francophones du Sud. L’échange d’expériences et de savoir-faire pertinents, ainsi que le soutien aux actions conjointes. Ces projets doivent mettre en évidence les niveaux élevés de participation et d’implication des parties prenantes.
Download programme guide
– NOTE this programme is also open to venues and festival organisers around the world programming specific eligible Francophonie country performances

Programme « Édition Limitée »  deadline:15 April 2016
La Francophonie s’investit dans le secteur de l’artisanat de luxe, par un accompagnement dédié aux créateurs de ce secteur. Ce programme de repérage des talents, a pour vocation de leur faciliter l’accès à une formation spécifique de haut niveau.
Download programme guide
This programme is open to applications from: fashion designers and stylists aged 20-35 years, residing and working in Francophone countries of the ‘South’, of Central and Eastern Europe, members of the Francophonie. (Les créateurs de mode, stylistes âgés de 20-35 ans, résidant et travaillant dans les pays francophones du Sud, de l’Europe Centrale et Orientale, membres de la Francophonie.)

more about it:http://artsetcreations.francophonie.org

Re-Directing: East Curatorial Residency | Warsaw

Re-Directing: East Curatorial Residency | Warsaw
Deadline: February 28, 2016

Open call for Re-Directing: East Curatorial Residency on “The Making of Collective Agencies” at Centre for Contemporary Art Ujazdowski Castle in Warsaw, Poland. Application open only to individuals living and working outside the EU for this special curatorial group residency.

The Artists-In-Residence Laboratory at the CCA Ujazdowski Castle in Warsaw invites art professionals such as curators, organisers, researchers and art managers to apply for a one-month long residency. The notion of “re-directing” refers here to a need to facilitate collaborations in-between art initiatives, which due to geopolitical conditions hasn’t had many opportunities to collaborate thus far.The Re-Directing: East Curatorial Residency is a peer-learning workshop, a curatorial seminar, extended site exploration and a research opportunity for a group of four to six individuals together with the CCA team and local participants.
The participants are expected to share their experience and understanding of respective artistic and socio-political contexts, as well as to prepare themselves for participation in this year’s exploration of the topic “The Making of Collective Agencies.” This curatorial residency is a platform for developing a possible working collaboration with the CCA Ujazdowski Castle and other parties concerned in the years to come.
During the month long residency we want to (self) reflect on the curatorial practices that take place outside of formal institutions and which draw inspiration from critical, social, and collective modes of action for the commonwealth. The starting point will be to look at examples of social practices (e.g. cooperative work, like the Indonesian “gotong royong,” or the already non-existent Polish “communal work,” which has been replaced by modern forms of the “exchange platforms”), artistic (e.g. activities supporting the self-governance of artistic circles and also “alternative” institutions and forms of presentation and creation of art) and beyond, or post-artistic practices within politics, economics, and social life (protests, cultural resistance, informal education). We will utilize the presentations as well as the experiences of the participants to talk about the different strategies and consequences of entangling curatorial and artistic practices in collective actions and implementing within their frames political commentary regarding the position of specific collectives. The question of who and what collectives are, on behalf of those and within the frames of those which artistic statements are created will constitute another important issue.
The month long residencies: July 18–August 17, 2016
Submission deadline: February 28, 2016
The results will be announced by April 8, 2016

Selection will be based on the professional excellence of the applicant’s work and their plans for sharing the benefits of the exchange with artists and institutions in their home country / site of activities. Due to the programme agenda aiming at creating collaboration opportunities beyond the already existing cultural policies, we do not accept applications from individuals residing and working within the EU. Applicants must have sufficient knowledge of English to function independently and communicate with the A-I-R Laboratory staff and other residents.
It will be offering:
–Individual living space connected with the working space
–A grant of 3200 PLN / approx. 800 USD
–Reimbursement of travel costs
–Organizing a customised programme of lectures, presentations and study visits in Warsaw and beyond
–Organizing the final seminar including participants’ presentations created collaboratively during the residency
Please note that it is not cover visa fees or the insurance costs required for visa application.
How to apply
Please send an electronic version of your application in one document to the e-mail: air.opencall@gmail.com —preferred format: pdf (in English). The application document should include:
1. professional work experience in the form of a portfolio containing a description of maximum five projects
2. a cover letter
3. a paper proposal (max. 300 words). This should describe the presentation subject which you would like to develop in relation to this year’s topic “The Making of Collective Agencies.” The presentation will contribute to the seminar during the RDE residency.
4. your CV.
Please label the portfolio as follows: your surname_your name_application.pdf.
The project is implemented with financial support from the City of Warsaw.


Centre for Contemporary Art Ujazdowski Castle
2 Jazdów Street
00-467 Warsaw
Hours: Tuesday–Sunday 12–7pm,
Friday 12–9pm
T +48 22 628 12 71

more abiut it >>>  

Singapore Fringe Festival 2017 | Open call

Singapore Fringe Festival 2017 | Open call
Deadline: March 4, 2016
Dates :  4 – 15 January 2017

"Who taught you to write in blood on my back? Who taught you to use your hands as branding irons? You have scored your name into my shoulders, referenced me with your mark. The pads of your fingers have become printing blocks, you tap a message on to my skin, tap meaning into my body."  Jeanette Winterson, Written on the Body

Open call for Singapore Fringe Festival 2017 – on the theme of ‘Art and Skin‘. The theme for M1 Singapore Fringe Festival 2017 is Art and Skin. We are looking for works in all disciplines that will fall within that theme. Applications accepted from professional Singapore and international artists/ companies.
The M1 Singapore Fringe Festival is an annual festival of theatre, dance, music, visual arts and mixed media created and presented by Singaporean and international artists. Themed differently each year, the Festival aims to bring the best of contemporary, cutting-edge and socially-engaged works to the Singapore audience. The M1 Singapore Fringe Festival is set to be a creative centre, with a twin-purpose of innovation and discussion; a platform for meaningful and provocative art to engage our increasingly connected and complex world.

The largest organ of the human’s body is the skin. A vessel for protection, identification, attraction and stimulation. It sweats, stretches, tears, heals and scars. It defends, dies, shreds and regenerates. It crawls and tingles, calluses and ruptures. It burns, blisters, blushes, bruises and peels. It chaps and scales, it tingles, inflames and it wrinkles.
Each square inch of human skin is home to approximately 30 million bacteria and 20 feet of blood vessels. We renew our skin monthly, shedding approximately 600,000 skin particles a day. It is said that up to half the dust in our homes is made up of our dead skin.
In an age where we are more aware than ever of our image, our identity, and our potential to alter our own appearance, we hope that the theme of Art and Skin will welcome a creative exploration and dialogue into matters of identity, beauty, intimacy, sensitivity, pleasure, pain and shame.
application form >> 

more about it >>  http://www.singaporefringe.com/fringe2016/2017_art_skin.php


miart 2016 | international fair of modern and contemporary art | Milano

miart 2016 |  international fair of modern and contemporary art | Milano
April 8–10, 2016
VIP preview and opening: April 7

 miart, the international fair of modern and contemporary art, is pleased to announce its 21st edition, held from April 8 to 10 at Pavilion 3 of fieraMilancity in Milan. More than 150 international galleries from 16 countries will exhibit works by modern masters, established contemporary artists, emerging talents, and experimental designers divided in five different sections.
Many international galleries will return from previous editions, including Alfonso Artiaco, Gavin Brown's Enterprise, Cardi, CLEARING, Sadie Coles HQ, Continua, Massimo De Carlo, Dépendance, kaufmann repetto, Johann König, Andrew Kreps, Giò Marconi, Massimo Minini, Office Baroque, Robilant+Voena, Lia Rumma, Christian Stein, T293, Tega, Tornabuoni Arte, Michael Werner, and Zero.
miart 2016 is delighted to welcome numerous leading galleries exhibiting in Milan for the first time: Blain|Southern, Campoli Presti, Marc Foxx, Greene Naftali, Rodolphe Janssen, Lelong, Mai 36, Anthony Reynolds, Esther Schipper, Galleria dello Scudo, Sperone Westwater, and Wilkinson.

Full list of exhibitors:
313 Art Project, Seoul / Acappella, Naples / Amt_project, Bratislava, Slovakia / Apalazzogallery, Brescia, Italy / Alfonso Artiaco, Naples / Piero Atchugarry, Pueblo Garzón, Uruguay / Galerie Bernhard, Zürich / Maria Bernheim, Zürich / Blain Southern, London / Blu, Milan / Boccanera, Trento, Italy / Thomas Brambilla, Bergamo, Italy / Brand New Gallery, Milan / Gavin Brown's Enterprise, New York - Rome / C+N CANEPANERI, Milan - Genoa - Courmayeur, Italy / Ca' di Fra', Milan / Camp Design Gallery, Milan / Campoli Presti, London - Paris / CAR DRDE, Bologna, Italy / Cardelli & Fontana, Sarzana, Italy / Cardi, London - Milan / Marta Cervera, Madrid / China Art Object, Los Angeles / CLEARING, New York - Brussels / Luciano Colantonio, Brescia, Italy / Sadie Coles HQ, London / Contini, Venice - Cortina d'Ampezzo, Italy / Continua, San Gimignano, Italy - Beijing - Les Moulins, Paris - Havana / Cøpperfield, London / Raffaella Cortese, Milan / Cortesi Gallery, Lugano, Switzerland - London / Guido Costa Projects, Turin / Riccardo Crespi, Milan / Studio Dabbeni, Lugano, Switzerland / Bianca D'Alessandro, Copenhagen / Monica De Cardenas, Milan - Zuoz, Switzerland / Massimo De Carlo, Milan - London - Hong Kong / de' Foscherari, Bologna, Italy / Luisa delle Piane, Milan / Dep Art, Milan / Dépendance, Brussels / Tiziana Di Caro, Naples / Dimore Studio, Milan / Doppelganger, Bari, Italy / Anat Ebgi, Los Angeles / Ellis King, Dublin / Emalin, London / Erastudio Apartment-Gallery, Milan / Ermes-Ermes, Rome / Exile, Berlin / Frediano Farsetti, Florence / Erica Fiorentini, Rome / Marie-Laure Fleisch, Rome / Marc Foxx, Los Angeles / Frittelli Arte Contemporanea, Florence / Frutta, Rome / Fumagalli, Milan / FuoriCampo, Siena, Italy / Giorgio Galotti, Turin / garcía galería, Madrid / Gariboldi, Milan / Gillmeier Rech, Berlin / Giustini Stagetti Galleria O. Roma, Rome / Armanda Gori, Prato / Greene Naftali, New York / Grieder Contemporary, Zürich / Studio Guenzani, Milan / Hagiwara Projects, Tokyo / Honor Fraser, Los Angeles / Il Ponte, Florence / A Arte Invernizzi, Milan / Rodolphe Janssen, Brussels / kaufmann repetto, Milan - New York / Kayne Griffin Corcoran, Los Angeles / Kinman, London / Johann König, Berlin / Andrew Kreps, New York / Matteo Lampertico, Milan / Laveronica, Modica, Italy / Emanuel Layr, Vienna / Lelong, Paris - New York / Josh Lilley, London / Limoncello, London / Lorenzelli Arte, Milan / Massimo Lunardon, San Giorgio di Perlena, Italy / Machado-Muñoz, Madrid / Magazzino, Rome / Galleria d'Arte Maggiore G.A.M., Bologna, Italy / Mai 36, Zürich / Norma Mangione, Turin / Giò Marconi, Milan / Primo Marella, Milan / Martini & Ronchetti, Genoa, Italy / Mathew, Berlin - New York / Centro Matteucci, Viareggio, Italy / Mazzoleni, Turin - London / Francesca Minini, Milan / Massimo Minini, Brescia, Italy / Montrasio Arte - Km0, Milan - Monza, Italy - Innsbuck, Austria / Nero, Arezzo, Italy / Nicodim Gallery, Los Angeles - Bucharest / Nilufar, Milan / NoguerasBlanchard, Madrid - Barcelona / Noire Gallery, Turin / Office Baroque, Brussels / P420, Bologna, Italy / Francesco Pantaleone, Palermo, Italy / Poggiali e Forconi, Florence / Claudio Poleschi, Lucca, Italy / Prometeogallery, Milan / Raucci/Santamaria, Naples - Milan / Repetto Gallery, London / Anthony Reynolds, London / Michela Rizzo, Venice / Robilant+Voena, London - Milan / Room East, New York / Lia Rumma, Milan - Naples / Richard Saltoun, London / Federica Schiavo Gallery, Rome / Esther Schipper, Berlin / Galleria dello Scudo, Verona, Italy / Secondome, Rome / Spazia, Bologna, Italy / SpazioA, Pistoia, Italy / Sperone Westwater, New York / Christian Stein, Milan - Pero, Italy / Subalterno 1, Milan / T293, Naples - Rome / Tega, Milan / The Gallery Apart, Rome / The Gallery, Brussels / The Goma, Madrid / Tonelli, Milan / Tornabuoni Arte, Florence - London - Milan - Paris / Steve Turner, Los Angeles / Rita Urso, Milan / VeneKlasen/Werner (VW), Berlin / VI, VII, Oslo / Antonella Villanova, Florence / Studio Giangaleazzo Visconti, Milan / Vistamare, Pescara, Italy / Michael Werner, New York - London / Wilkinson, London / Z2O Sara Zanin Gallery, Rome / Zero, Milan / Zieher Smith & Horton, New York
Each booth—shared by two different galleries—presents a dialogue between works by two artists from different generations.
Curated by:Jarrett Gregory, Associate Curator of Contemporary Art, LACMA, Los Angeles and Pavel Pyś, Curator of Visual Arts, Walker Art Center, Minneapolis
>>Giovanni Anselmo, Vistamare, Pescara, Italy – Daniel Steegmann Mangranè, Esther Schipper, Berlin
Irma Blank, P420, Bologna, Italy – Maaike Schoorel, Marc Foxx, Los Angeles
Giuseppe Chiari, Armanda Gori, Prato, Italy – Lawrence Abu Hadman, Laveronica, Modica, Italy
Pietro Consagra, Tega, Milan – Luca Monterastelli, Lia Rumma, Milan - Naples
Florence Henri, Martini & Ronchetti, Genoa, Italy – Haris Epaminonda, Massimo Minini, Brescia, Italy,Jiří Kolář, Lelong, Paris - New York – Ibrahim Mahama, Apalazzogallery, Brescia, Italy
Gastone Novelli, Galleria dello Scudo, Verona, Italy – Nick Mauss, Campoli Presti, London - Paris
Rirkrit Tiravanija, Gavin Brown's Enterprise, New York – Korakrit Arunanondchai, CLEARING, New York - Brussels
A section designed like an itinerary that crosses the 20th century, divided by decades. Each booth, through a monographic or thematic exhibition, presents a key moment of the decade in question.
Curated by Alberto Salvadori, Director, Museo Marino Marini, Florence
Blain|Southern, London //Studio Guenzani, Milan//Centro Matteucci, Viareggio, Italy//Richard Saltoun, London//Galleria dello Scudo, Verona, Italy//Sperone Westwater, New York//Christian Stein, Milan - Pero, Italy//Michael Werner, New York - London//Wilkinson, London
A section for emerging galleries whose programming focuses on the most recent generation of artists.
Curated by Nikola Dietrich, independent curator, Berlin
>>Acappella, Naples / Galerie Bernhard, Zürich / Maria Bernheim, Zürich / CAR DRDE, Bologna, Italy / Cøpperfield, London / Bianca D'Alessandro, Copenhagen / Doppelganger, Bari, Italy / Ellis King, Dublin / Emalin, London / Ermes-Ermes, Rome / FuoriCampo, Siena / garcía galería, Madrid / Gillmeier Rech, Berlin / Hagiwara Projects, Tokyo / Kinman, London / Room East, New York
A selection of galleries active in the promotion of experimental design, decorative arts, and limited editions, whose activities are the result of close collaboration with designers.
Curated by Domitilla Dardi, Design Curator, MAXXI Architettura, Rome
>>Camp Design Gallery, Milan / Luciano Colantonio, Brescia, Italy / Luisa delle Piane, Milan / Dimore Studio, Milan / Erastudio Apartment-Gallery, Milan / Giustini Stagetti Galleria O. Roma, Rome / Massimo Lunardon, San Giorgio di Perlena, Italy / Machado-Muñoz, Madrid / Nero, Arezzo, Italy / Nilufar, Milan / Secondome, Rome / Subalterno 1, Milan / The Gallery, Brussels / Antonella Villanova, Florence

miart 2016
Viale Scarampo
Pavilion 3, Gate 5
20149 Milan| Italy

* all images are from miart 2015 . photocredit: miart .



deadline: February 28, 2016

The residency open call for curators and archival researchers at Fabrica, Treviso, Italy at the renowned communication research centre established on the vision of Luciano Benetton.

Fabrica is a communication research centre. It is based in Treviso, Italy, and is an integral part of the Benetton Group. Established in 1994 from a vision of Luciano Benetton, Fabrica offers young people from around the world a one-year scholarship, accommodation and a round-trip ticket to Italy, enabling a highly diverse group of researchers.
The range of disciplines is equally diverse, including design, visual communication, photography, interaction, video, music and journalism. Fabrica is based in a campus centred on a 17th-century villa, restored and significantly augmented by renowned Japanese architect Tadao Ando.

The scholars will develop collective and personal project identifying and interviewing sources, whether them photographic materials and/or paper archives of institutions, private funds, online catalogs, databases, “vernacular” documents, web or social media.
Researchers must know how to index and archive all the information collected by applying a scientific method, in team and individually working. The material collected will be curated in books, exhibitions, videos, multimedia projects.
Starting from January 30, Fabrica will accept and evaluate research, already underway or in proposal form, in order to understand and evaluate capabilities and interests of the aspiring bursary.
For one year, successful applicants will reach Fabrica’s multidisciplinary (designers, photographers, graphic designers) and international team and they will be coordinated by Francesca Seravalle.
Fellowship: return trip from your country; accommodation in Treviso (to share with one or two Fabrica grant holders); lunch from Monday to Friday; a monthly money supply to cover living expenses; health insurance for the entire duration of the scholarship. 

How to apply >> click here
More about it >>  http://www.fabrica.it


Ugo Rondinone in Museum Boijmans Van Beuningen | Rotterdam

Ugo Rondinone in Museum Boijmans Van Beuningen | Rotterdam

Ugo Rondinone | Vocabulary of Solitude
February 13–May 29, 2016
Museum Boijmans Van Beuningen
Rotterdam |The Netherlands

Ugo Rondinone, Vocabulary of solitude. sleep, 2014. 
Clown costume, masker, live performance. Collection of the artist. 
photocredit:  Museum Boijmans Van Beuningen

This spring the magical world of artist Ugo Rondinone (b. 1964, Switzerland, lives and works in New York) will be present at the Museum Boijmans Van Beuningen in Rotterdam, during the Art Rotterdam Week. The artist will bring together new and existing works in a large installation like a colour spectrum revealing the various facets of existence. Forty-five life-size clown sculptures will form the centrepiece of Vocabulary of Solitude, the artist’s first solo exhibition in the Netherlands.

On the floor of the 1500m2 Bodon Galleries visitors will see forty-five life-size sculptures of passive and contemplative clowns, each named after an everyday activity: dream, sleep, yawn, read, cook. Together they describe by artist a person’s solitary day at home. The clown sculptures have never previously been exhibited and will be transported directly to Rotterdam from Rondinone’s studio in New York.
 Ugo Rondinone, vierzehnterseptemberzweitausendundfünfzehn, 2015. 
Acryl on canvas, 520 x 270 cm. Collection of the artist
 photocredit:  Museum Boijmans Van Beuningen
Rainbows is an installation includes half mandala paintings created with an airbrush technique. The optical effect of the large rainbow bands of colour makes them dance before your eyes. The large window of the Bodon Galleries will be covered with a filter in all the colours of the rainbow, creating an intense colourful glow throughout the garden gallery. The rainbow theme continues in thousands of drawings by children: young artists who have responded to the artist’s request for help in creating a 4 x 30 metre wall of rainbow drawings.
 Ugo Rondinone, The Eighteenth Hour of the Poem, 2007. 
Wax and pigments, 140 x 82 x 82 cm. Artist's collection.
  photocredit:  Museum Boijmans Van Beuningen

Ugo Rondinone -  one of the world’s leading visual artists, has an Italian origin , born in Brunnen, Switzerland in 1964, currenty based in New York since 1998. He studied at the Hochschule für Angewandte Kunstin in Vienna. Earlier on in his career  Rondinone has collaborated  with Austrian performance artist Hermann Nitsch. He came to international attention during the 1990s with his installations by sculpture, painting, video, sound and photography. Rondinone represented Switzerland at the 52th Venice Biennale in 2007. He has been the curator of the exhibitions The Third Mind at the Palais de Tokyo in Paris (2007) and The Spirit Level at Barbara Gladstone Gallery in New York (2012). He had major solo exhibitions at Centre Pompidou, the Louisiana Museum of Modern Art, the Kunsthalle Wien , Palais Tokyo, Museum Leuven in Belgium . The work of Ugo Rondinone is represented by Galerie Eva Presenhuber (Zürich), Barbara Gladstone Gallery (New York – Brussels), Galerie Almine Rech (Paris – Brussels), Sadie Coles HQ (London) and Galerie Esther Schipper (Berlin).

 Ugo Rondinone, Still. Life, 2013. 
Bronze, and lead paint, 12.5 x 14 x 12.5 cm. Artist's collection
  photocredit:  Museum Boijmans Van Beuningen

Ugo Rondinone : “Good art revolutionizes your whole being. It is something that stops you, or slows you down.

practical info:
Museum Boijmans Van Beuningen
Museumpark 18-20
3015 CX Rotterdam
The Netherlands


Steve McQueen @Galerie Marian Goodman | Paris

Steve McQueen @Galerie Marian Goodman | Paris
January 9–February 27, 2016

"I want to put the public in a situation where everyone becomes acutely sensitive to themselves, to their body and respiration." Steve McQueen

Steve McQueen , Remember Me, 2016; Acrylic paint on 88 neon borosilicate tubes;
photocredit: Galerie Marian Goodman

Marian Goodman Gallery in Paris is proud to announce an exhibition by Steve McQueen to launch the 2016 season. We present Ashes, his latest film installation, as well as several new works produced especially for this, his fifth exhibition at the gallery. Steve McQueen's latest projects comprise a wall installation formed of 77 dark blue neon lights, each a unique handwritten version of the phrase Remember Me, as well as two sculptural works, Broken Column and Moonlit.
Ashes is an immersive work composed of two films projected simultaneously on either side of a free-hanging screen. First is a portrait of Ashes, a young man from Grenada from where the artist's family also originated. Cracking a mischievous smile and taunting the camera, Ashes is seated at the prow of a boat sailing the Caribbean Sea. The footage was captured during the production of another work, titled Caribs' Leap (2002). Shot live on Super 8 film by the renowned cinematographer Robby Müller, the images illustrate the documentary aspect of McQueen's work.
Ashes's carefree demeanor and apparent freedom stand in contrast to the content of the second film projected on the other side of the screen and shot eight years later in a Grenada cemetery, in contrast to the idyllic postcard pictures of the Caribbean island. "Life and death have always lived side by side, in every aspect of life," said McQueen. "We live with ghosts in our everyday."
The intensity of the piece is derived from the juxtaposition of the two projections (life and death, boundless space and enclosed space) linked by an off-screen voice. McQueen uses a monologue to pull together the threads of a story that are absent from the images. Employing this narrative device, each viewer is rendered a witness to the drama through the oral testimonies of Ashes’s friends.

 Steve McQueen, Moonlit, 2016,Rocks, silver leaf 
 photocredit: Galerie Marian Goodman

Born in London in 1969, Steve McQueen has said "I discovered filmmaking, and that was it, a eureka moment. I was 19 years old." In 1993, as he was about to graduate from Goldsmiths, University of London, he showed his first video, Bear, at the Royal College of Art in London. This first video revealed some of the themes that the artist continued to explore in the 1990s, such as the relationship of the body to space. His work was recognized in 1999 when he was awarded the Turner Prize.
McQueen's work has been the subject of many museums around the world, including the National Portrait Gallery in London (2010), the De Pont Museum of Contemporary Art in Tilburg (2009), the Institute of Contemporary Art in London, and the Museum of Modern Art in New York (1997). In 2009, he was selected to represent Great Britain at the Venice Biennale. He participated in Documenta X (1997), Documenta XI (2002), and Documenta XII (2007). Most recently, his work was the subject of retrospective exhibitions, at the Art Institute of Chicago (2012) and at the Schaulager in Basel (2014). His last museum exhibition in France was in 2003 at the Musée d'Art Moderne de la Ville de Paris. The Whitney Museum of American Art in New York will hold a new solo show of his work in spring 2016.
Internationally renowned as a filmmaker, McQueen has directed three feature films: Hunger (2008), Shame (2011), and 12 Years a Slave (2014). He won the "camera d'or" award at the Cannes Film Festival for Hunger and the Oscar for the Best Motion Picture for 12 Years a Slave in 2014.

Galerie Marian Goodman
79 rue du Temple
75003 Paris


Call for applications >> Educating.Curating.Managing Master Program 2016-18 Vienna

Call for applications >>educating.curating.managing  /ecm/ 2016-18
Master Program for Exhibition Theory & Practice|
Vienna| Universität für Angewandte Kunst Wien, October 2016 – June 2018
deadline: March 3rd 2016

/ecm/ is a postgraduate master program concerned with core competences in the expanded field of museums and exhibitions. The goal of the two-year university course is to provide the scientific fundamentals and professionalization of cultural work. An intensive engagement with theoretical positions goes together with the development of practical competences in the visualisation and realisation of projects in institutions as well as in the independent scene. The training provides the participants with the tools for work methodologies relating to cultural activity. It invites to experiment in a practice based research context. Because of its comprehensive orientation the post-diploma course of studies is preparation for undertaking challenging tasks in the curatorial field.
/ecm-Directors>>Martina Griesser, Christine Haupt-Stummer, Renate Höllwart, Beatrice Jaschke, Monika Sommer, Nora Sternfeld, Luisa Ziaja
The course is held in German and English, a minimum of B2 level of both languages are requested.
Applications until March 3rd 2016: ecm@uni-ak.ac.at
Universität für Angewandte Kunst Wien
/ecm Masterlehrgang
Oskar-Kokoschka Platz 2
1010 Vienna

Ox-Bow (USA) Summer 2016 Fellowship Programs

Ox-Bow Summer 2016 Fellowship Program
Application Deadline: February 22, 2016 (Midnight, CST)
Fellowship Length: 13 weeks (Sunday, May 29 - Saturday, August 27, 2016)

Ox-Bow’s LeRoy Neiman Foundation Fellowship program welcomes twelve fellowship students from schools all over the nation with the opportunity to focus on their work, meet with renowned artists, and grow as a member of this unique community.  These students live on campus in Saugatuck, MI for 13 weeks, where they participate in campus life as both staff members and artists.

As a fellow you:
Receive a private studio space
Receive free room/board
Have access to critiques with visiting artists
Have the opportunity to exhibit work
Can audit one two-week course or two one-week courses
Work alongside staff for 20 hours per week and receive a weekly stipend
Fellowship selection process
Departments at partner schools select ten fellowship students. Two fellowship positions are open to students currently enrolled in degree programs in the visual arts in their junior or senior year. Fellows must be at least 21 years of age at start of the program. An Ox-Bow selection committee reviews applications.

Ox-Bow’s Summer 2016 MFA and Arts Faculty Artist in Residence Program
Application Deadline: February 5, 2016 (Midnight, CST)

Ox-Bow, School of Art and Artists' Residency, located in Saugatuck, MI, offers courses, workshops, and artist residencies for students and artists at all stages in their career. In the summer MFA candidates and recent graduates and Arts Faculty residents can take advantage of the Ox-Bow community, which includes faculty, visiting artists and students.

The MFA and Faculty residencies provide:
Private Studio (raw studio space, classroom studios not available)
Private room
Access to visiting artists and faculty for studio visits
Evening artist lectures
Opportunities to share work: slide presentations and/or readings and open studios

We are happy to announce that in 2016 Ox-Bow will be furthering our commitment to the needs of artists by no longer charging fees for the residency program (including application, room & board, and residency fees). All accepted residents will be fully funded. Artists may apply for additional stipends to help pay for the cost of travel, supplies, and time away from work.

Ox-Bow 2016 Fall Residency Program
Application Deadline: May 9, 2016  (Midnight, CST)
Residency Length: Two, three, and five week  (September 6th - October 10th)
Costs: Accepted residents are fully funded. Artists can apply for additional stipends within the application.

At Ox-Bow, artists can enjoy 24-hour access to their studios, and an inspirational setting, free from the expectations of commercial and academic demands. During the fall season, Artists-in-Residence have the opportunity to work in studios not available during the summer session. The fall is an ideal time for writers to apply as there are studios dedicated specifically to them. It’s also a great time to propose group or collaborative work.  The residency is open to all visual art disciplines and writers.

The residency provides:
Studio (access to ceramic, printmaking, and painting studios—if you would like access to these facilities make sure this is clearly stated in your application)
Private room
A community of engaged artists
Opportunities to share work: slide presentations and/or readings.

More about the Ox-Bow’s AIR program >> www.ox-bow.org
* source re-title.org


Deadline: 29 February 2016

The Shire of East Pilbara is proud to announce that entries have opened for the 2016 Art at the Heart Artist in Residency program for 2016.
Art at the Heart is perhaps the richest artist residency program in Australia with $15,000 awarded to the selected artist along with up to $40,000 available to them to produce a body of art.
The Shire seeks expressions of interest from artists working in any medium, in Australia or overseas to make application to fulfill the residency guidelines while exploring the 2016 theme of ‘Light’.
Shire President Lynne Craigie said she is thrilled to have the third year of the Art at the Heart program up and running. “Art at the Heart is a wonderful program that explores and celebrates arts and culture in the East Pilbara. We have had two wonderful years already and I am sure the third will be as exciting as ever”, she said.
“The Shire has an initial four year commitment to Art at the Heart, a commitment I am very proud of. Artists awarded the residency bring with them fresh perspectives or new artistic practices” she said. “The opportunity for the community to engage with these artists can not only inspire them but also strengthen their capacity for artist expression” Lynne Craigie added.
The residency runs for a period of six to eight weeks, generally in August and September. Applications close for the 2016 residency on 29 February.
Applicants should send an email to cacd@eastpibara.wa.gov.au asking for the application form and Artists Brief. Applicants are encouraged to go to the Shire’s website at www.eastpilbara.wa.gov.au where they can find more information on Art at the Heart.
Based in the Shire of East Pilbara, Western Australia, Art at the Heart is a unique artist in residency program that focuses on the creative interaction between the artist, the environment and local community. While exploring our magnificent region the artist will engage the local communities of Newman, Nullagine and Marble Bar in creative activities related to the artist’s practice and the body of work developed throughout the residency.
Over the residency period the selected artist will have the opportunity to develop a body of work around the 2016 theme of ‘light’. This development will be generously supported by a $15,000 artist fee. As part of the residency it is expected that the artist showcases their body of work and create an artwork to be gifted to the Shire as a legacy of the residency.
During the residency the selected artist will be expected to facilitate a series of community engagement opportunities for local artists and the broader community. In a detailed plan the artist will need to demonstrate how this engagement and creative exchange will take place. A $40,000 budget will be available to cover costs associated with the delivery of the community engagement and costs related to the creation of the artist body of work.
The successful artist will undertake a 6 -8 week residency within the Shire or East Pilbara ideally between the 1st August and the 30th September 2016. The exact dates will be negotiated
In its third year of a four year program, the 2016 Art at the Heart - Artist in residence program aims to:
Develop the capacity of local artists and the wider community via community engagement and creative exchange
Explore and showcase the local region through the exploration of the 2016 theme ‘light’
Contribute to and creatively enrich the Shire of East Pilbara’s through a legacy artwork
Enable an artist to develop a body of work and further their creative practice
Promote and create an awareness of the region, residency and artist (both nationally and internationally).
To view previous Art at the Heart residencies please visit the website: http://www.eastpilbara.wa.gov.au/Our-Region/Art-at-the-Heart
For a copy of the Artist Brief, application form and details on how to apply, please contact: cacd@eastpilbara.wa.gov.au