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Open Call // Live or Buy

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RESIDENCY DATES // 1 MARCH - 31 MARCH
OPEN CALL DEADLINE // 18 DECEMBER 2019

 

Our fragile sense of self needs support, and this we get by having and possessing things because, to a large degree, we are what we have and possess.

(Tuan, Yi-Fu , 1980, "The Significance of the Artifact," Geo-graphical Review, 70 (4), 462-472.)

We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art…

(Le Guin, Ursula K., Speech at the National Book Awards, 2014)

Present-day systems of consumption emphasise the construction of the sense of self through acquisition – having. They present the act of buying a house or upgrading to the latest tech innovation as a kind of “self-improvement”; and in some ways, it may be simpler and easier to have than to be or become. However, satisfying the individual desire to have drives ever-increasing wealth inequality, labour exploitation and environmental devastation, and within all this, “cultural producers” play a precarious and contradictory role.

What functions do art, fashion and design serve beyond consumerism? Perhaps we can loosen capitalism’s ideological hold on the concept of exchange? Human beings intrinsically have much more than their accumulations of objects: ideas, bodies, and ways of relating to both human and non-human others that are not predetermined by economic transactionality. On both a macro- and a micro-scale, there is great scope for cultural producers to re-think ecologies of consumption. 

Residency 16: Live or Buy has been developed with artist Nina Sarnelle, clothing designer Ida Falck Øien and clothing label HAiKw/. It will offer participants the opportunity to explore these critical questions in intimate, personal and physical ways. Sarnelle and Falck Øien plan to test the potential of dematerialised, interactive techniques (borrowed from areas such as live action role play, therapy, improvisation and social practice), to escape the pervasive logic of the free market and – through fantasy, allegory or live experiment – propose alternative forms of social or economic organization. Their goal is not to arrive at a grand solution but rather (in Donna Haraway’s phrase) to stay with the trouble, embracing doubt and working with failure and intuition to develop new practices of research, inquiry and “dirty hybrids” of resistance. 

Residents are warmly encouraged to bring their own specialisms to bear in the course of the residency. When applying, please articulate (a) the relevant background knowledge and experience you will bring to the residency, (b) the particular interests or topic you plan to explore during your stay, and (c) its relationship to the agendas above. Applications are welcomed from cultural producers working at any point along the theory-practice spectrum.

Nina Sarnelle and Ida Falck Øien use both theory and art/design practice to look at issues of consumer power and sustainability. Their work has focused on the clothing industry; on- and offline scams; the politics of “economic development”, and labour infrastructures in the digital economy.

ABOUT SARNELLE AND FALCK ØIEN //

Nina Sarnelle is an artist and musician living in Los Angeles, with a BA from Oberlin College and an MFA from Carnegie Mellon University, and additional training in vocal performance and movement improvisation. She is co-founder of two artist collectives, the Institute for New Feeling and dadpranks, Her work includes intimate participatory performances, large public events, music composition, video, text and sculpture. her practice thrives on the energy of collaboration. Driven by an intuitive style of research, Sarnelle’s projects attempt to reconcile powerful abstract systems with the most personal or mundane parts of everyday life. Her work has been shown at Whitechapel Gallery (London), Hammer Museum (LA), Getty Center (LA), Ballroom Marfa (TX), MoMA (NY), Istanbul Modern (Turkey), Neuer Berliner Kunstverein (Berlin), NADA (Miami), Museum of Art, Architecture & Technology (Lisbon), Fundacion PROA (Buenos Aires), Black Cube (Denver), Southern Exposure (San Francisco), Recess (NY), Akademie Schloss Solitude (Germany), Jardin Essential (Brussels), UNSW Galleries (Sydney), Project 88 (Mumbai), Kevin Space (Vienna), Villa Croce Contemporary Art Museum (Genova), Center for Contemporary Arts (Santa Fe), Mwoods (Beijing), MoCA Cleveland, Human Resources (LA), Borscht Festival (Miami), SPACES (Cleveland), Threewalls (Chicago), Vox Populi (Philadelphia), Miller Gallery (Pittsburgh), and featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic. More information available at www.ninasarnelle.com.

Ida Falck Øien is a designer and researcher based in Oslo, with educational background in fine arts and fashion from respectively The National Academy of the Arts in Bergen (2005) and The National Academy of the Arts in Oslo (2007). After working in fashion internationally for years she costarted the collaborative fashion platform and label HAiKw/ in 2012 and continues to work with collaborative and interdisciplinary research, on and through clothing in and beyond the fashion realm. Currently, Falck Øien is enrolled in the artistic research programme at The National Academy of the Arts in Oslo, department of design. Her PhD project, called Transactional Aesthetics explores the agency of and critical potential in consumption centres and transition points and their mechanics. Haikw/ is a collaborator to her PhD project due for delivery 2021. 

ABOUT HAIKW/ //

HAiKw/ (est. 2012) is an Oslo based clothing label operating as a collaborative platform working through/with/around clothing. Their name reflects their working method; the Norwegian word haik means to hitch hike. They work mainly through collaborative practices and ethnographic research to investigate thematics relating to the human psyche as approached through clothing as a carrier of stories, dreams and communication. They have held artists residencies at Rogaland Center for Contemporary Art and Bergen Kunsthall Upstairs in Norway. They were Bik Bok prize winner 2018, Söderberg prize 2017 nominee, and have been collected by the National Museum of Art and Design in Oslo, have exhibited and performed their collaborations at Rod Bianco Gallery, Galleri Golsa, Kunstnernes Hus, Format Gallery in Oslo and Bergen Kunsthall, Wiels Museum, Brussels, F15 in Moss. HAiKw/ is run by Harald Lunde Helgesen and Ida Falck Øien. Their website is: www.haikwithus.com.

THE RESIDENCY STRUCTURE //

PRAKSIS residencies are intensive and structured around the interests and needs of their participants. The particular form that each residency takes is developed collectively through discussion once the group comes together. At the start of the residency, group members are encouraged to share their reasons for applying and what they hope to get out of their time with PRAKSIS.

Early in the residency each participant is expected to give a brief introduction to their practice. Self-led activity will be supplemented by collective activity including, but not limited to visits, meals, discussions and a series of public events that aim to further group research and practice while opening dialogues to wider publics. Proposed areas of research and discussion in relation to the topic of Live or Buy include but are not limited to: ownership, modelling/worlding, thinking with things, privilege, empathy, therapy, irony, protest.

Further activity will be developed collectively through discussion once the group comes together. Group members are encouraged to share their reasons for applying and what they hope to get out of their time with PRAKSIS.

Conveners Ida Falk Oeien and Nina Sarnelle hope to facilitate a non-hierarchical residency featuring a mixture of self-led/independent and planned group activities. Residents are welcome to suggest or lead a group activity, event or workshop around their own research interests and methods. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, including readings, podcasts, films, music, or other materials for consideration during the residency. 

POTENTIAL RESIDENTS //

Applications are welcomed from artists, as well as practitioners or theorists in other areas whose interests and experience are relevant to the residency’s theme. Selected residents will be part of a temporary community of between five and eight local and international participants. The residency will involve group activities, discussion and creative exchange around the residency theme, as well as time for independent working. Selection is based on applicants’ ability both to gain from, and contribute to, the activities of the month-long residency.

PRAKSIS aims to provide an environment for development and professional growth: applications are welcome from practitioners of differing ages and experience levels.

WHAT PRAKSIS PROVIDES //

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at the residency studio space, and at organised events and meals.

International participants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.

Weekly meals encourage for discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at the working space. Dinners for all residents with invited guests will be held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS will provide residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo. PRAKSIS residencies aims to introduce the residency community to Oslo creatives in various spheres including among others: curators, writers, and artists.

Activities and events will be mainly held at PRAKSIS’s space in central Oslo. At the start of the residency, participants are invited to make a presentation, informally introducing themselves and their practice to the rest of the group. Other activities include residency related visits, a tour of Oslo's galleries, networking events, discussions and group critiques – some open to the public. A screening/seminar event will address issues surrounding the residency theme.

Residents are responsible for their own travel and any further costs.

Two places are available for international residents. Places may be offered subject to securing support. Approximately four spaces are available to local residents.

Our team is happy to support applications for external grants wherever possible. 

Residents are welcomed to suggest or lead an action, activity or workshop that will clarify and support their own background, interests or methodologies. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, potentially including readings, podcasts, films or other materials for consideration during the residency.

 

 

Deadline: 
12/18/2019
Contact & Links: 

CARRYING HISTORIES

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RESIDENCY DATES // 19 October – 19 November
OPEN CALL DEADLINE // 1 May 2019 11.59 CET
 

Carrying Histories will explore personal and cultural histories through process and discussion. It will unpack the burden of working with historical material, building cross cultural awareness of past and present power structures. Conversations developed within the residency group will be presented to Oslo audiences through a series of public events. This residency is open to anyone with relevant interest and experience in the topic, including artist, curator, writer, anthropologist, historian, educator, dancer etc.  

In articulating her thoughts for the residency, Syowia Kyambi (KE) writes “I enter the world as this, how will I leave it? We carry our histories on our backs, hunched over and barely heard, constantly swimming against the stream. The body is a site of trauma. The body holds, codes and re-codes, sharing a multitude of layered stories. Body memory expresses itself in a non-linear timeline, presenting pasts beyond our experienced past resulting in repeated onslaught of distress. Collective history weaves a web in the memory of our contemporary bodies. We still live in sexist and racist environs, and so are bound to navigate the nuances of identity.

The history of where our bodies come from is a crucial element to my making process. We have to go into the nuances of identity and one way that we can do that is through the methodology of ‘autohistoria’. Coined by Gloria Anzaldúa, autohistoria involves “outlining the potential of plural, ambivalent, unstable, and performative expressions of the self, so as to allow for the dissemination of personal, depolarized narratives” (Pg. 155. Kaila, Jan, Anita Seppä and Henk Slager. Futures of Artistic Research: At the Intersection of Utopia, Academia and Power. Helsinki: Academy of Fine Arts, Uniarts Helsinki, 2017). To repeat, reuse, rewrite and layer creates rituals which resist the normative narratives that support exploitive power structures.

I am interested to continue to develop the tools I use to re-appropriate and reclaim autonomy through the body, performance, and sharing processes with others, and to learn from the toolkits that others bring to the residency.
 

THE RESIDENCY STRUCTURE //

PRAKSIS residencies are structured around the interests and needs of their participants. The particular form that each residency takes is developed collectively through discussion once the group comes together. Though convened by Syowia Kyambi, the group will be of a flat-hierarchy, and will feature a mix of self-lead activities and arranged activities. Residents are welcomed to suggest or lead an action, activity or workshop with the group, that will clarify and support their own background, interests or methodologies. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, potentially including readings, podcasts, films, music, or other materials for consideration during the residency.

 

ABOUT SYOWIA KYAMBI //

Kyambi’s practice probes issues of race, perception, gender and memory. Her work examines how contemporary human experience is influenced by constructed histories, creating installations that include a performative practice to narrate stories and activate objects, exploring cultural identities, linking them to issues of loss, memory, race, and gender.

Based in Nairobi and of Kenyan and German origin, Syowia Kyambi has received commissions by the Kenya Institute of Administration, the National Museum of Kenya and the Art 4 Action Foundation in Kenya. She is an alumnus of the School of the Art Institute of Chicago and has been the recipient of several awards and grants, including most recently the Smithsonian Artist Research Fellowship, being shortlisted for the Financial Times Emerging Artist Award and recipient of the Art in Global Health Grant from the Wellcome Trust Fund in the United Kingdom. Her work has been exhibited in museums in Belgium, Finland, Kenya, Mali, Sweden, Germany, Zimbabwe, France, United Kingdom, Mexico, South Africa North America and Ireland

More information is available at www.syowiakyambi.com.

ABOUT OSLO KUNSTFORENING // 
Oslo Kunstforening (OK) is an art gallery that displays and disseminates exhibits and communicates contemporary art. Formed in 1836, it is Norway’s first exhibition space. OK engages the public through multiple, interconnected platforms including: exhibitions, performances, tours, lectures, talks, seminars and publications. OK’s main goal is to support emerging Norwegian artists and present international artists that have not previously been shown in Norway. The three-room gallery space of Oslo Kunstforening  will become the residency base, as a space for process, discussion, and public engagement. For more information please click here.
 

POTENTIAL RESIDENTS //

Applications are welcomed from artists, as well as practitioners or theorists in other areas whose interests and experience are relevant to the residency’s theme. Selected residents will be part of a temporary community of between five and eight local and international participants. The residency will involve group activities, discussion and creative exchange around the residency theme, as well as time for independent working. Selection is based on applicants’ ability both to gain from, and contribute to, the activities of the month-long residency.

PRAKSIS aims to provide an environment for development and professional growth: applications are welcome from practitioners of differing ages and experience levels.

 

WHAT PRAKSIS PROVIDES //

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at the residency studio space, and at organised events and meals.

International participants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.

Weekly meals encourage for discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at the working space. Dinners for all residents with invited guests will be held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS will provide residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo. PRAKSIS residencies aims to introduce the residency community to Oslo creatives in various spheres including among others: curators, writers, and artists.

Activities and events will be mainly held at PRAKSIS’s space in central Oslo. At the start of the residency, participants are invited to make a presentation, informally introducing themselves and their practice to the rest of the group. Other activities include residency related visits, a tour of Oslo's galleries, networking events, discussions and group critiques – some open to the public. A screening/seminar event will address issues surrounding the residency theme.

Residents are responsible for their own travel and any further costs.

Three places are available for international residents. Places may be offered conditionally subject to securing further support. Approximately four spaces are available to local residents.

Our team is happy to support applications for external grants wherever possible.

 



REQUIREMENTS //

English is the common language at PRAKSIS and residencies must be sufficiently fluent to participate in group discussion and activity.

Residents are expected to involve themselves fully in the work of the residency: joining meals, participating in events and engaging with the resident community.

Accepting a residency involves a commitment to participation for the full residency term.

 

Deadline: 
05/01/2019
Contact & Links: 

Now that’s what I call an artist’s residency!

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OPEN CALL DEADLINE // 15 MARCH 2019 (23.59 CET)
RESIDENCY DATES // 5 AUGUST – 6 SEPTEMBER 2019

For Now that’s what I call an artist’s residency! art writer, Artforum contributor and PRAKSIS co-founder Rachel Withers invites applications from anyone who’d like to spend a month with PRAKSIS in Oslo, developing their art practice. Workers in any medium or art-oriented practice (criticism, art theory, art history) will be considered. She challenges you to send us the most ingenious, original and practical month-long work plan you can cook up.

Today, from Aarau to Zalaegerszeg, artists’ residencies proliferate. Websites such as TransArtists and ResArtis list thousands, from the lavishly resourced and wildly prestigious, to low-and-no-budget initiatives open to anyone with motivation, talent, and scope to step away from their job and/or family for a given period. Underlying this relatively untheorised phenomenon are numerous assumptions about how artists create and what they “give back” to the communities that host them. During the residency, Withers plans to inventory and reflect on those assumptions, as part of her investigation into the theory and practice of artists’ residencies.

Withers’s extremely open Open Call is designed to support her investigation. By loosening the residency application parameters, she looks forward to learning more about what artists (and art writers or researchers) really want from the experience. Artists’ residencies are usually viewed as a revitalising break from the continuum of “normal” practice – but do they deliver this in practice, and why is it so needed and wanted? What does it say about “normal” practice? Do deeper art-historical perspectives shed light on the concept and practice of residencies? What other research methods – economic, sociological, philosophical – might support the enquiry?  

Successful applicants will become part of a small, close-knit community for the residency period, engaging in discussions and other collective activities to be decided by the group: these might include visits to local sites or organisations, or other strategies – Withers looks forward to hearing. There will be opportunities to brainstorm your project and your wider practice 1-to-1 with Withers and the PRAKSIS team. Wherever practical, she and PRAKSIS will support you with your project’s logistics. This might be by brokering introductions in the Oslo area, or helping negotiate access to specific facilities you may need.  

As the residency process unfolds, Withers will invite participants to share reflections on the process and discuss their views on, and experiences of, residencies as a phenomenon. 

SELECTION CRITERIA //

Places will be allocated on the basis of the inventiveness, criticality and practicality of applicants’ individual work plans.

Applicants should be keen to engage in supportive discussion with fellow residents in internal and public events, and to share reflections on their personal plan’s progress (or lack of it: nothing ventured, nothing gained!)

Successful applicants will potentially (but not necessarily) have had have previous experience of doing (or running) some form of residency; and will have interesting views on artists’ residencies as a social, historical and cultural phenomenon.

POTENTIAL RESIDENTS //

Applications are welcomed from artists and art-related practitioners or theorists whose interests and experience are relevant to the residency’s theme. Selected residents will be part of a temporary community of between five and eight local and international participants. The residency will involve group activities, discussion and creative exchange around the residency theme, as well as time for independent working. Selection is based on applicants’ ability both to gain from, and contribute to, the activities of the month-long residency.

PRAKSIS aims to provide an environment for development and professional growth: applications are welcome from practitioners of differing ages and experience levels.

PRAKSIS residencies are structured around the interests and needs of their participants. The particular form that each residency takes is developed collectively through discussion once the group comes together. Group members are encouraged to share their reasons for applying and what they hope to get out of their time with PRAKSIS.

 

WHAT PRAKSIS PROVIDES //

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at the residency studio space, and at organised events and meals.

International participants receive a stipend of 3500 NOK (approximately 350 euros) towards additional costs.

Weekly meals encourage for discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at the working space. Dinners for all residents with invited guests will be held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS will provide residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo. PRAKSIS residencies aims to introduce the residency community to Oslo creatives in various spheres including among others: curators, writers, and artists.

Activities and events will be mainly held at PRAKSIS’s space in central Oslo. At the start of the residency, participants are invited to make a presentation, informally introducing themselves and their practice to the rest of the group. Other activities include residency related visits, a tour of Oslo's galleries, networking events, discussions and group critiques – some open to the public. A screening/seminar event will address issues surrounding the residency theme.

Residents are responsible for their own travel and any further costs.

Our team is happy to support applications for external grants wherever possible. 

Residents are welcomed to suggest or lead an action, activity or workshop that will clarify and support their own background, interests or methodologies. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, potentially including readings, podcasts, films or other materials for consideration during the residency.




REQUIREMENTS // 

English is the common language at PRAKSIS and residencies must be sufficiently fluent to participate in group discussion and activity.

Residents are expected to involve themselves fully in the work of the residency: joining meals, participating in events and engaging with the resident community.

Accepting a residency involves a commitment to participation for the full residency term.

APPLICATION GUIDELINES //

Please submit:

A completed application form (click here to download word version). We kindly request that you send a PDF version of the application.

Recent CV/resume.

Portfolio (only one PDF file). Up to 5 images. The images should include captions or short descriptions. 
For videos/films, please provide links to your own website, Vimeo page, YouTube page, etc. Do not attach actual video files.


In the subject line of your email, please write your name and country of residence per the following order:  Last Name, First Name, Country.

Selections will be made by Rachel Withers and PRAKSIS on the basis of each individual’s potential to contribute to and benefit from residency involvement, and are not based on applicants’ academic or professional backgrounds. Successful applicants will be selected for Skype interviews with residency admissions jury, which will take place shortly after the application deadline.

APPLICATION FEE //


There is an application fee towards administrative costs of 90 NOK (£8 as for 22/02/19).
 

TIMELINE //

Open Call Deadline // 15 March 2019 23.59 CET
Interviews // 4 – 5 April 2019
Residency // 5 August – 6 September 2019

(Image: Marinus van Reymerswaele, St. Jerome in his Study (Musée des Beaux-Arts de Reims, Reims, France/WikiArt © public domain)

Deadline: 
03/15/2019
Contact & Links: 

OPEN CALL // PAINTING PROJECT: OUT LOOKING INWARDS

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DEVELOPED WITH ROBERT BORDO AND ROBERT HOLYHEAD

OPEN CALL DEADLINE // 10 JANUARY 2019
RESIDENCY DATES // 2 APRIL TO 27 APRIL 2019

For the purposes of this residency, painters Robert Bordo (CA) and Robert Holyhead (UK) have identified three important dimensions of painting as medium: the painting’s materiality, its visual form, and the frameworks, uncertainties and reflections that mark its making.

In Painting Project: Out Looking Inwards Bordo and Holyhead aim to explore the intersections between perceivedly ‘internal’ painterly considerations and the wider world – including the vast virtual expanses of the digital realm. They will ask how painters mediate between the (often, but not always) intimate processes of thinking and making, and the realities of their works’ distribution, reception and interpretation in today’s complex cultural and socio-political environments. In the process, they plan to unpack some of contemporary painting’s dominant critical narratives, asking how they have arisen; whose views and interests they serve; to what extent they reflect the actualities of painters’ concepts and practices; and how they may be influencing future directions for the medium.
 

Places are available for a small group of between five and eight participants: applications are invited from painters and others with a strong interest in the residency’s specific theme and questions. The residency will include scheduled and informal opportunities for critical/theoretical discussion, independent practice or research time, and group activities, including public events addressing the residency’s foci; introductions to Oslo’s art scene and its artists; and expeditions into the superb rural and wild environments surrounding the city.

Robert Bordo will initiate the residency (present from 2 to 21 April), then hand over to Robert Holyhead (present from 15 to 27 April) mid-way through. Their stays will overlap for seven days.

From 2 to 15 April, Robert Bordo proposes that individual studio time be supplemented by in-depth one-to-one conversations and group excursions. Each week there will be between three and five group events investigating the artistic and cultural life of the city, and exploring residency themes while walking in the varied landscapes around the capital. Between 15 and 27 April, Robert Holyhead proposes a series of one-to-one conversations with participants, structured around their specific interests and perspectives in painting. He will devise a flexible daily programme that will allow time for residents to work independently, and to plan ad-hoc group activities and visits.
 

ABOUT ROBERT BORDO AND ROBERT HOLYHEAD // 

Robert Bordo makes thematic paintings that integrate a notion of formalism with a range of personal and theoretical narratives. Since the mid-1980s, his work has been exhibited extensively and internationally in solo and group exhibitions. Highlights include shows at the National Exemplar Gallery, Bortolami Gallery, Alexander and Bonin Gallery, MoMA PS1 and the Brooklyn Museum (all New York); The Suburban, Oak Park, IL, Mummery + Schnelle, London, the Museum fur Gegenwartskunst, Basel, and Tel Aviv Museum of Art. Collections in which his work features include the Metropolitan Museum of Art, NY, the Hammer Museum, Los Angeles and the Sheldon Museum of Art, Lincoln, NE. Awards and fellowships he has received include the 2014 Robert de Niro Sr. Painting Prize, the Solomon R. Guggenheim Foundation Fellowship, Canada Council Arts Grant, the Tesuque Foundation Arts Fellowship Award, a MacDowell Colony Fellowship, Ballinglen Fellowship, a Hermitage Retreat Fellowship and a Painting Fellowship from the New York Foundation for the Arts. He has designed sets, costumes and posters for the Mark Morris Dance Company, including designs for Brooklyn Academy of Music’s 2017 revival of Dido and Aeneas. As Associate Professor of Art he led the Cooper Union’s painting program from 1996 until 2017. He lives and works in Columbia County and Brooklyn, NY.

Robert Holyhead studied Fine Art at Manchester School of Art, Manchester Metropolitan University, between 1993 and 96, and at the Chelsea School of Art and Design between 1996 and 97. Solo exhibitions include shows at Galerie Max Hetzler, Paris, in 2016; PARTS Project, The Hague, in 2016; Galerie Max Hetzler, Berlin, in 2014; PEER, London, in 2012; and Karsten Schubert, London, in 2009, 2010 and 2012. He was a recipient of the five-year ACME Fire Station live/work residency (2005) and in 2009/10 he was commissioned by the Government Art Collection to produce two site-specific works for the new British Embassy in Brussels. In July 2018, he completed a residency at SoART in Austria. He is represented by Galerie Max Hetzler, Berlin and Paris. In 2018, he was selected for one of the Art Foundation’s 20th Anniversary awards. Public collections holding his work include the UK Arts Council Collection, the UK Government Art Collection, Tate and the Centre Georges Pompidou. Recent writing projects include What is Seen: a catalogue essay published by Tate for Patrick Heron’s retrospective at Tate St Ives.
 

POTENTIAL RESIDENTS //

Applications are welcomed from artists working with painting, as well as practitioners or theorists in other areas whose interests and experience are relevant to the residency’s theme. Selected residents will be part of a temporary community of between five and eight local and international participants. The residency will involve group activities, discussion and creative exchange around the residency theme, as well as time for independent working. Selection is based on applicants’ ability both to gain from, and contribute to, the activities of the month-long residency.

PRAKSIS aims to provide an environment for development and professional growth: applications are welcome from practitioners of differing ages and experience levels.

PRAKSIS residencies are intensive and structured around the interests and needs of their participants. The particular form that each residency takes is developed collectively through discussion once the group comes together. Group members are encouraged to share their reasons for applying and what they hope to get out of their time with PRAKSIS.
 

WHAT PRAKSIS PROVIDES //

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents continue to live at their usual address. The residency community regularly comes together at the residency studio space, and at organised events and meals.

International applicants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.

Weekly meals encourage discussion, debate and friendship. On weekdays PRAKSIS provides lunch at the working space. Dinners for all residents, with invited guests, are held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS provides residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo. PRAKSIS residencies aim to introduce the residency community to Oslo creatives in various spheres, including curators, writers, and artists.

Activities and events are mainly held at PRAKSIS’s space in central Oslo. At the start of the residency, participants are invited to make a presentation, informally introducing themselves and their practice to the rest of the group. Other activities include residency related visits, a tour of Oslo's galleries, networking events, discussions and group critiques – some open to the public. A screening/seminar event addresses issues surrounding the residency theme.

Residents are responsible for their own travel and any further costs.

Our team is happy to support applications for external grants wherever possible.

Residents are welcomed to suggest or lead an action, activity or workshop that will clarify and support their own background, interests or methodologies. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, potentially including readings, podcasts, films or other materials for consideration during the residency.

Visit praksisoslo.org for more information about how to apply. 

 

Contact & Links: 

CALL FOR PARTICIPANTS: 8-day Learning Program exploring Performance Art with topic "Aging as an action"

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PAS | Performance Art Studies #60 | Aging as an Action

CALL FOR PARTICIPANTS
27. OCTOBER – 3. NOVEMBER 2018, Oslo Norway

8-day Learning Program on Performance Art
in cooperation with PAO – Performance Art Oslo and KHiO – Oslo National Academy of the Arts

Led by BBB Johannes Deimling
Guest Teacher: Emily Promise Allison

WHAT YOU GET

PEDAGOGICAL, ARTISTIC AND TECHNICAL GUIDANCE OF BBB JOHANNES DEIMLING AND THE GUEST TEACHER EMILY PROMISE ALLISON

EXPLORING PERFORMANCE ART THROUGH A VARIETY OF UNIQUE PERFORMATIVE EXERCISES, EXPERIMENTS, GAMES AND ASSIGNMENTS

COLLABORATING WITH OTHER LIKE-MINDED PEOPLE WITH DIFFERENT EXPERIENCES, BACKGROUNDS AND NATIONALITIES

PROGRAM ADJUSTED TO THE GROUP DYNAMICS AND INDIVIDUAL NEEDS

CONTACTS WITH ARTISTS, CURATORS AND ART INSTITUTIONS

FINAL PUBLIC PRESENTATION AS PART OF THE OPENING OF THE INTERNATIONAL PAO FESTIVAL IN OSLO

VIDEO AND PHOTO DOCUMENTATION OF THE FINAL PRESENTATION

TONS OF INSPIRATION, PRACTICAL & THEORETICAL KNOWLEDGE, NEW EXPERIENCES

AND MANY MORE THAT IS DEPENDENT ON YOUR ENGAGEMENT

APPLY NOW

write to pas@bbbjohannesdeimling.de
http://tinyurl.com/PAS60-CALL

 

PROGRAM BASED ON THE FOLLOWING CONCEPT

Time is an enormous phenomenon. While researching the different aspects of it, we found there's research showing that the faster you move the slower you age. Does it mean that you can be so busy in life that you forget to age? Aging as an action. There's also the perspective of forgotten time: "Every time a person dies a library is burned down". The scale of time changes depending on age: when you are younger an hour is a larger percent of your life. Also, we found that the traditional Maya calendar states that time is quickening. We are also interested in the perspective of physics. When Einstein talks about the space-time he states that the past and the future exists just as much as the present. What does it mean that time is space-like? Is it possible for us to understand?

AGING AS AN ACTION is facing this various time-research on an artistic level; because we believe that artistic questions are similar to scientific questions. We hope to find new approaches that could change our perception both in the act of creation and during the act of sharing with an audience. The use of performance art allows us to come closer to the point of a direct experience with our bodies. Performance art includes the time aspect by its nature, and with its ephemeral gesture it leads inevitably to knowledge about time. We use the body as a measure instrument. We explore how the body and the space are influencing each other. The relation between them could be understood as time - time in art as a consequence and a condition of a body in a space. Time allows us to move, to let the relationship develop. Thus for us the body is an essential instrument to investigate time. The intensive use of space within the work with the body will offer a relation to the context, and through this, a cultural aspect. What creates the specificity of a space and how can we use it for articulating something?

 

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PRICE
Regular price: € 300
PAO member price € 170
Price does NOT include travel and accommodation costs

APPLICATION
Closing date for applications 20. October 2018

DATES

26. October 2018 arrival (unofficial)
27. October – 2. November 2018: practical studies and researches
27. October – start at 10am
2. November 2018: final presentation at the opening of PAO Festival
3. November 2018: reflection and departure at earliest at 4pm
2. -4. November 2018: PAO Festival (optional)
 

APPLY NOW
write to pas@bbbjohannesdeimling.de

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