OpenCall - WAVING Conference




OpenCall - WAVING Conference - November 4-6, 2022 
Applications until 30/09/22 
The entire universe is waving. 
The phenomenon concerns many issues, both scientific and artistic. Waving includes natural phenomena occurring in nature, as well as civilization, social and cultural processes. Space kinetics, particle motion, gravity, sound, resonance, tactics and haptics are some of the important elements of modern intermedia art using advanced technology. 
The Art Space Faculty invites you to participate in the conference. 

Applications including: 

  • first name and last name 
  • title of the paper 
  • short bio 
  • abstract (max 300 characters) 

please send by 30/09/2022 to the following address
Thematic areas 

Waving, boundaries of space, imaging the boundaries of space, blending of spaces, hybrid spaces, environment, area, imaging, virtuality made real, between design and reality the future of using cyberspace in creative activities, computer games and art, co-creation of electronic and physical space, visual and auditory aspect of space, mapping space, reproduction, notgames, locative media, Alternate Reality Games, Augmented Reality. 
Jan Matejko Fine Arts Academy in Krakow Intermedia Department 
Art Space Faculty and Archisphere and Audiosphere Labs 

MuFo Museum of Photography in Krakow 

MuFo Museum of Photography in Krakow ul. Rakowicka 22A 31-510 Kraków November 4-6, 2022

Entry Fee:

Fee Detail: 
Contact & Links: 





What is necessary to know about permissions, promotion, funding and more…to make a successful event.

11.10 – 04.11.2022

Deadline: 29 September 2022

The Venice Biennale is a large-scale international contemporary art exhibition. In early May, thousands of art-world denizens descend in the city for the opening of a new edition of the Biennale, the closely watched pageant of contemporary art that has been running—with a few interruptions—since 1895. The Biennale is arguably the most prestigious exhibition in the world, filled with history and also cloaked in myth.

The preview days brings 25,000 artists, collectors, curators, museum directors and journalists into the city, followed by 600,000 visitors in the six months after. For this reason it is extremely important to know how everything works.

Session 1. 11.10.22

What is the Venice Biennale and why everybody wants to be present. Identification of the keys points that all participants need to know before facing such import event.

Session 2. 14.10.2022

First step the location. How to find the ideal location. Even though the city is small, for the Venice Biennale you need to be in a good quarter. How to find the right location. Prices. The place makes the difference.

Session 3. 18.10.2022

Step 2. What do you need to know about your location. The exhibition space is in the Arsenale? Inside of the Biennale? Then is very important to know which are the rules to respect, the permissions you need and the best suppliers you can get.

Session 4. 21.10.2022

Organizing your event in a place located in the city: the things changes and there are other permissions you need to provide, rules to respect, and of course the suppliers.

Session 5. 25.10.2022

How to promote an event during the Biennale: this is the most intensive period and a part for the main exhibition organized by the Biennale, you have at least 300 more competitors. In the city during the Venice Biennale there almost 500 of shows, events and projects.

Timing and strategies is a key point in order to have a successful event.

Session 6.

Collateral events can be a good strategy to keep and attract the attention on your initiative. When is a collateral program useful for the promotion of your show and how should it work: dinners, parties, conference, workshop and presentation.

Session 7. - 01.11.2022

Venice is a tough city! No cars, therefore transports are only on boats. All about logistic: transports and suppliers. Taxi and restaurants. Hotels and flats. When you should start booking and arranging all these fundamental matters.

Session 8. - 04.11.2022

What you should not do at the Venice Biennale. Some key scenarios which should absolutely avoided.

The fee is 590 euro.

Our Online Delivery Method Online Study Lectures effectively run over the week – Tuesday and Friday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.

Live Seminars - Each lecture is two hours long at the end of each lecture we will have a half an hour for questions and discussions. Your tutor will hold live seminars with you and discussions are accessed via a web-link which we will email to you. These sessions enable you to ‘meet’ your tutor and fellow students. To participate you will only need an internet enabled device; you do not need a account. If you have questions that you were not able to raise in the discussions, you will also be able to communicate with your tutor by email.

Prize Summary: 
Contact & Links: 

The International Competition for Intermedia Artwork ICIA 2022




• No Registration & Presentation Fee
• Total Prize Money is PLN 20,000 (approx. 4600 €)
• The second edition of Competition

In the 2022 edition, the competition will be held in two, separately evaluated categories. Works can be submitted to one or both categories of the competition:

CAVE – multi-channel audio-visual projection
More info:

VR – virtual reality work
More info:


The Jury’s will award prizes in the competition:

Grand Prix of PLN 10,000 (approx. 2300 €)
Two Main Prizes, one for each category of the competition of PLN 5,000 (approx. 1150 €) each.

Application deadline: 30th September 2022, 23:59 CET

Terms and conditions ⟶
For more info & apply ⟶

Prize Summary: 
Total Prize Money is PLN 20,000 (approx. 4600 €)
Prizes Details: 

Grand Prix of PLN 10,000 (approx. 2300 €)
Two Main Prizes, one for each category of the competition of PLN 5,000 (approx. 1150 €) each.

Faculty of Intermedia at the Jan Matejko Academy of Fine Arts in Kraków 23A Berka Joselewicza St. 31-051 Cracow

Entry Fee:

Contact & Links: 

Exercising Modernity Academy 2022




Exercising Modernity Academy is a project for intellectual and artistic exchange, focused on describing the Polish share in modern heritage in a new, interdisciplinary way as well as in an international context. The project aims to highlight modern ideas in a broader sense by tracing modernization practices in Europe and beyond, as well as by following the establishment of modern societies and modern states. Nevertheless, we pay special attention to culture, and more specifically to architecture, which we consider a unique field of various intersecting perspectives, ambitions, concerns and hopes relevant in the formation of the 20th century world.

The fourth edition of the Exercising Modernity Academy will be devoted to Eastern Europe and its historical and contemporary methods of understanding. We want to reflect on the concepts of East and West, have a closer look at the incoherencies between political, geographical, and cultural borders of Europe in the 20th and 21st centuries. We will examine the issue of the role of culture and architecture in shaping the societies, cities and states in this region of the world.
Our ambition is to create a field for reflection on the common experience of the 20th century’s modernization movements of the states and peoples of Eastern Europe from the ideological foundations of modernity and its successful representations in art and architecture, through the difficult experience of totalitarianism and its legacy, to contemporary narratives and self-reflections.
Finally, our goal is to sketch a broader and comprehensive perspective on what Eastern Europe is and how we can better understand the events, changes and processes that have shaped the world in recent times.

The Academy will take place in Berlin in October 2022, during which we will encourage a broader reflection on these issues through lectures, seminars and workshops. The program of the Exercising Modernity Academy 2022 will be focused on four thematic sections:

Section I. Modernity(/-ies) / Modernism(-s)
The first thematic section of this year's Academy will be devoted to the multi-layered relationship between what is modernity understood as a set of practices, forms, ideas and struggles of individuals and societies. Attention will also be paid to the relation between modernity and the foundations of modernism manifested in architecture or urban planning, i.e. a relation based as much on compatibility as on inconsistencies between the cultural theory of modernity and its practice. The different dynamics characterising 20th-century aspirations to modernity will be discussed, taking into account the cultural, social, or political specificities of these transformations in selected countries of Central and Eastern Europe. Looking at the architecture of such cities as Gdynia or Kharkiv, or considering the oeuvre of Eastern European architects developing their careers in Tel Aviv or Beirut, it is not difficult to get the impression that Eastern Europe was also an extremely fertile ground for attempts to practice modernity. So fertile, in fact, that within a short time these ideas became part of official development plans, setting an unprecedented, but also peculiar pace of transformation in various centres of the region. Eventually, the grains of modernist assumptions were adopted both in countries striving to realise the utopia of socialism and those oriented towards capitalism, but in both cases this was connected with a kind of revolution in the perception of the role of architecture, which became an important field for the implementation of these plans. Finally, the last highly significant element of this thematic section is the experience of the individual in all these processes. As is so
often the case in the systemic development of far-reaching, complex plans, individuals disappear from sight. Therefore, has modernity brought us closer to fulfil utopian assumptions or has it become a source of suffering?

Section II . Between totalitarianisms
In the second thematic block we will direct the attention of the participants to a range of issues connected with the experience of two totalitarianisms, which happened to the countries of Central and Eastern Europe. The oppressive systems – both Nazism and Communism – had a significant impact on the life of European societies for many decades. They also gave rise to many ethical dilemmas: what choice did the individual have to preserve their identity and survive at the same time? Is it possible to regain trust after decades of manipulation? How – during and after the Second World War – were narratives about the past, present and future produced? How does the legacy of both totalitarianisms shape the present of our cities, the surrounding infrastructure and landscape, and Central and Eastern European collective memory?
With these questions and issues in mind, our aim will be also to look at selected cities in Central and Eastern Europe as a kind of palimpsest, where successive layers overlap, sometimes deliberately attempting to falsify the original, covering up selected elements, and sometimes completing it and building it in – sometimes significantly – empty places.

Section III. World in motion – defining East and West
This block will focus on the ways of defining Central and Eastern Europe and the (in)coherences inherent in these definitions with respect to political, geographical and cultural borders. We will look at how, over the past century and in recent years, the imagined and experienced divisions between ‘East’ and ‘West’ have been shaped and how they have manifested themselves in common spaces, including architecture or the spatial organisation of cities, towns, suburbs or villages. We will consider the political conditions of the (re)production of the boundaries and imaginaries associated with the East. We will also examine how the East can be understood in the context of the architectural legacy of socialist modernism, and to what extent modernism developed under socialism differs from modernism formed under capitalist system. We will try to outline the
conceptual framework and to trace its evolution, also in the context of contemporary events, which force us to reflect anew on the – physical and imaginary – borders.

Section IV. Deconstruction/Reconstruction
Public space of many cities, towns and villages in Central and Eastern Europe is still marked by numerous sculptural, architectural or urban elements, which are material traces of foreign domination and presence of totalitarian systems in these territories. A particular group of such places and objects are monuments, erected in order to perpetuate the propaganda narrative, free of historical distortions and manipulations. Another category of this – sometimes perceived as dissonant – heritage is formed by various types of architecture: from the architecture of oppression and extermination, such as former labour and concentration camps, through residential and administrative buildings erected for the occupation authorities, to huge blocks of flats or even entire city districts, creating residential spaces in line with the dominant ideology. Some of them, apart from the symbolic layer, also have their still important utilitarian, as well as aesthetic or cognitive function, which makes any decisions concerning the further fate of this type of legacy arouse conflicting emotions.
Starting from the reflection on the role of aesthetics in politics, we would like to take a broader look at the issue of constructing forms of commemoration as an element in creating common identity (national, ethnic, political, etc.). We would like to question to what extent this kind of legacy constitutes a troublesome legacy today and what commemorative strategies, translated into architectural realisations or spatial policy, can be found in various countries of the former “Eastern Bloc”.

Through these topics, we will be guided by experts representing different perspectives and disciplines from all over the Europe.

Locations and dates
The Exercising Modernity Academy 2022 will take place on 17.10–23.10.2022 in Berlin.

Participants will be selected in an open call procedure, with a maximum of 18 people from Germany, Israel, and Poland (selected candidates should be a permanent resident of one of the aforementioned countries – citizenship is not required. Refugees from Belarus or Ukraine are most welcome).

Our offer includes
● Participation in the lectures and seminars of the Exercising Academy 2022
● partial reimbursement of travel costs:
- for participants coming from Poland and Germany: up to 90.00 EUR gross;
- for participants coming from Israel: up to 180.00 EUR gross;
● expenses for accommodation in Berlin covered in full;
● free participation in lectures, seminars and workshops held by experienced and acclaimed scholars and artists;
● for those who complete the course – the possibility of submitting their own research or artistic project, elaborated or expanded on during classes, for a special scholarship program organized by the Pilecki-Institut Berlin and devoted to the issue of modernity in the 20th century (details will be announced during the Academy).
● After the Academy 2022, the participants will have an opportunity to apply for Exercising Modernity scholarships for research and/or artistic projects. (About the previous scholarship edition:

Target candidates
● This call for proposals is directed at individuals.
● The Exercising Modernity Academy 2022 is open to researchers specializing in the humanities or cultural heritage, curators, architects, and artists who shall come from or reside in Israel, Germany or Poland.
● Admission to the Academy requires good working knowledge of the English language.
● Candidates shall be aged 18 or above.

Pilecki-Insitut Berlin, Berlin, Germany

Entry Fee:

Contact & Links: 

curso de performance en Escola Massana de Barcelona | El mundo de la performance: teoría y práctica del arte de acción con Marina Barsy Janer x Isil Sol Vil





Teoría y práctica del Arte de la Performance o Arte de Acción. A través de ejercicios específicos de autoconocimiento corporal y mental se agudizará la intuición y el sentido de comunidad prestando especial atención a la parte sensitiva - energética- política de la cuerpa que habitamos. Se trabajará este arte vital a través de la escucha extrema desde el ser individual hasta el ser comunal. Esta exploración corposensorial irá conjuntamente enlazada con charlas y debates sobre las múltiples teorías corporales (cuerpx-geografía, cuerpx políticx, afectivx / afectadx, cuerpx identitarix y fronterizx, cuerpx ritual, etc.), conociendo artistas que trabajan esta práctica desde diversas geografías y realidades. La exploración generada permitirá la reapropiación de la cuerpa por parte de lxs participantes y su uso como herramienta para la creación de acciones individuales y colectivas. Se trabajará la estética, composición, concepto, motivación y realización de las acciones junto a la intervención de los espacios y el uso de objetos.

del 5-18 septiembre, 2022
_Número de horas
Escola Massana (Barcelona)
Marina Barsy Janer x Isil Sol Vil


Prize Summary:
Contact & Links: 

Call to Artists: Collage in Practice Workshop


Artistic field:




A three-week, virtual/online workshop with Kolaj Institute in July & August 2022
Deadline to apply: Sunday, July 17, 2022

The practice of collage takes on many forms. A practice will be shaped by the goals of the artist and what they want to achieve with their artwork. It will also be informed by the choice of material, scale, and subject matter. A collage practice is also informed by the history of artists who came before and how an artist chooses to be in dialogue or opposition with their creative ancestors. A working understanding of one’s practice is critical to one’s professional and artistic development.

Intended as a clinic for working artists at any level, participants in this workshop will explore how they go about making art and putting it out into the world. How to make a living as an artist? How to get your work seen? How to get an exhibition? How to get reviewed? How to make a life for yourself as an artist? What does that even mean? These are some of the challenges artists face when they want to take their art practice to the next level. 

Participants will explore critical concepts and collage taxonomies as a way to develop and refine the language they use to talk about their own practice and to develop a broad view of the creative landscape in which they operate. How does choice of material inform how the artwork is exhibited? How does one speak about their process so that it is understood by other art professionals and the general public? How can one use art history to create a critical context for one’s artwork?

Participants will finish the workshop with a deeper understanding of their practice, a strong statement of practice that can be used to communicate with curators, editors, and art professionals; a portfolio of consistent artwork (or a plan to make one); and tools for growing or developing their practice.


Dates: July 25 – August  14, 2022

Tuesday, July 26, 4-5PM EDT
Wednesday, July 27, 4-6PM EDT
Tuesday, August 2, 4-6PM EDT
Wednesday, August 3, 4-6PM EDT
Wednesday, August 10, 4-6PM EDT

The workshop will begin with an invitation to join the Slack workspace on Monday, July 25th, followed by a one hour, online Meet & Greet on Tuesday, July 26th, 4-5PM EDT. 

The Introduction and Orientation session will take place on Wednesday, July 27th, 4-6PM EDT. 

The remaining sessions will take place on August 2nd, 3rd, and 10th, from 4-6PM EDT. 

The Slack workspace will be turned off on August 14th and any future communication will be through email. 

Artists are expected to attend all scheduled sessions and complete assignments. The group will finish the workshop with a strong statement of practice that can be used to communicate with curators, editors, and art professionals and a portfolio of consistent artwork (or a plan to make one). By participation in the workshop, artists grant Kolaj Institute, Kolaj Magazine, and Maison Kasini permission to publish images and text generated during the workshop in book form and in the promotion of future projects and books. Any original work made during the workshop remains the property of the individual artists with all rights retained.

Contact & Links: 


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