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Call for Submissions: CURRENTS Festival 2022

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CURRENTS New Media is now accepting submissions for our 2022 art and technology festival in Santa Fe, New Mexico, USA.

Every summer since 2010, CURRENTS New Media presents one of the leading art and technology festivals in the United States. Based in Santa Fe, New Mexico, CURRENTS brings together the work of established and emerging new media artists from the USA and around the world.  

 

Submission Deadline: November 1, 2021 

Notified by: January 10, 2022

Festival Dates: June 17 - 26, 2022

 

This year’s submission categories include:

-Installations (Interactive and non-interactive)

-Outdoor Installations and Projections

-Virtual/Augmented/Mixed Reality Environments

-Robotics

-Multimedia Performance

-Digitally Generated or Fabricated Objects

-Wearables

-Interactive Installations for Children

-Experimental Single Channel Video, Documentary, and Animation

Our Mission: CURRENTS New Media champions new media arts and supports artists in creating innovative work. Our annual festival, educational programs, and exhibition space give the public year-round access to immersive and expansive art experiences.

Deadline: 
11/01/2021

Entry Fee:

Fee Detail: 
$25 for single Submission, $20 for multiple submissions
Contact & Links: 

OPEN CALL! 2021 “Chinese Gan Jue" International Moving Image Online Exhibition

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Open Call :22 Oct 2021 – 31 Dec 2021

Exhibition :  Jan 2022

The call is international. Submission is free.

 

Call for submission 2021:

 

What is 'Gan Jue 感觉‘?

 

普遍的 universal?

- Is 'Gan Jue 感觉' as 'Gan Jue 感觉' rather than 'feeling' an internationally universal being?

民族的 ethnographic?

- Is there an ethnographicity of 'Gan Jue 感觉'? What are the ethnographic characteristics of 'Gan Jue 感觉'?

文化的 Cultural?

- How does culture influence the public's perception of the material, movement, composition and power of 'Gan Jue 感觉'?

影像 Moving image/films and videos

- How do the ethnographicity of ''Gan Jue 感觉' influence film and video artists' perception and their artistic practice?

- In what way does 'Gan Jue 感觉' exist in the moving image?

翻译 translation

- Can 'Gan Jue 感觉' be translated by films and video?

- When the 'moving image' is used as a medium for translating ethnographic 'ways to Gan Jue' and the 'experiences of Gan Jue'. how could it transcend language and then more directly and intimately convey ethnographic 'Gan Jue' or the ethnographicity of ‘Gan Jue’ for different skin and bodies?  

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Currently, a great number of scholars in the field of anthropology have noticed that different cultures have a great influence on the way humans sense and experience the world. Of them, people, such as Sarah Pink, David Howes, Constance Classen, Wu Da and Bao Jiang, have observed that human sensorium is cultural. Different cultures can, to some extent, guide the operation of sensory nerves in different ways, thus enhancing or diminishing the human ability to capture specific sensory information. According to them, culture seems to be able, to a certain extent, to reshape the human 'body' and ‘inform’ the way in which each group perceives the world characteristically in its daily life. As a result, similar but subtly different experiences would be produced. For example, the culture of the Kashnahua Indians has given rise to a particular 'decorative visual experience', the culture of the Suas in the Mato Grosso region of Brazil has shaped the local experience of 'masculinity', and the culture of the Eskimo people has enriched their experience of 'snow'. "The nomadic culture's high level of admiration for 'smell' has nurtured a 'consciousness' and a 'body' that are sensitive to the experience of ‘taste'. Of course, sensory experience is always inseparable from knowing and making meaning of the world, and the different collective experiences thus shape an 'experiential reality' and ‘ethnographic sensory lifeworlds' that are more or less culturally locked. These worlds, these ethnographic sensory experiences, are waiting to be decoded by more people.

 

When it comes to China, slightly different from the Old English 'feeling', which has its origins in German history and the meaning of‘touch', Gan Jue (translates as feeling), which is derived from Chinese culture and encompasses 'the vibration of the heart and the enlightenment of mind and body’. According to the ideas listed above, Gan Jue could have its own specific material, movement and philosophical connotations.

Then, how does Chinese culture shape and guide the way people ‘sense’, 'feel' and 'experience'? What is the ‘ethnographicity' of Chinese sensory culture? How has the Chinese body been shaped by the millennia of immersion in the three cultures of Buddhism, Taoism and Confucianism? How has this body come into contact with the world in a particular way? And what special experience does this contact produce? From a physical point of view, the writer Yang Jianmin has said that the Chinese Gan Jue are a characteristic combination of sensation, intuition, perception, imagination and moral feelings. If we look at it from the perspective of personal experience, we can probably see that Chinese culture has contributed to forming a kind of ‘body’ that is extremely sensitive to "qi", "wind" and “breath”. It is evident in historical materials (paintings, ancient poems, dances, music, etc.). It seems that all Chinese people’s experiences are wrapped in a thin cloud of smoke. Chinese culture enters the body, consciousness and life with the wind, and gives rise to a series of characteristic experiences in the space of the human body. For example, benevolence, righteousness, propriety, wisdom, faithfulness, courage, compassion and filial piety, as well as the divine emotions of the immortal, the chivalrous and the pure. These wondrous 'vibrations of the heart and the enlightenment of mind and body', sometimes as abstract qi, sometimes as physical wind, sometimes as fluid time, sometimes as fixed space, stretch, evolve and renew across millennia, forming a series of epochal (the 60s, 70s, 80s, 90s...), geographically distinctive and geographically significant experiences that words cannot encompass. This could be the so-called Chinese Gan Jue.

 

If the experiential of “Gan Jue" is beyond the text, can the ethnographicity of Gan Jue facilitate direct communication between body and body, skin to skin, through videos and films? The work of a number of filmmakers and video artists, such as Dutch documentarian Evans' The Story of the Wind, Chinese filmmaker Fei Mu's Spring in a Small Town, video artist Qiu Anxiong's The New Shanhaijing, Yang Fudong's A Year in the Making, Wei Mengqi's Zhuang Zhou Dreams of Butterflies, and Wang Coi Mo's Rhapsody on Earth, seems to offer a positive answer. At present, China is gradually becoming the focus of attention in the international community, but the loss of experiential information generated by the direct translation of texts and the misinterpretation of sensory information has not diminished with this attention. Through a gathering of film and video artworks, this exhibition hopes to provide a small expansion of international cultural communication based on language. In lieu of words, the exhibition hopes first and foremost that the video artists will delve into the world of 'experience', exploring, discovering and demonstrating the form, materiality, characteristics, structure, movement and effects of the Chinese Gan Jue experienced by their individual bodies. Through their video works, the artists are expected to add new, pioneering and creative responses to the questions raised in the opening words of the exhibition about the nature of Chinese Gan Jue, its relationship to creation and the related issue of the video translation. We aim to explore the more neglected national characteristics of ‘Gan Jue'. The exhibition will be divided into three sections including 'What I experience as Gan Jue', 'The presence of Gan Jue in my video practice process and works' and 'My video translation practice of Gan Jue'. Through the collection of works in these three sections, this exhibition seeks to present the public with a history of contemporary experience of Chinese“Gan Jue", the history of video presence of “Gan Jue” and the history of video translation of it, which is hidden in everyday life. It will allow Chinese sensory culture to linger not only in the viewer’s eyes but also in the body, leading to a more direct and intimate understanding.

当下在人类学领域有一批学者注意到不同文化对于人类的感觉方式和感觉体验是存在巨大影响的。其中Sarah Pink, David Howes, Constance Classen, 巫达和鲍江等学者通过观察和研究提出“感觉神经”是文化的。不同的民族文化会在一定程度上引导感觉神经和感觉器官的产生不同的综合运作,从而加强或者削弱人们对于特定的感觉信息的捕捉...。根据他们的观点,文化可以在一定程度上重塑人类的“身体”并引导一个个群族在日常生活中用各具特色的方法去感知这个世界从而获得相似却有微妙差别的体验。例如,卡什纳华印第安人文化促生了一种特别的“装饰视觉体验”,巴西马托格罗索地区的苏亚人文化塑造了当地人对于“男子味” 的体验判断标准,爱斯基摩民族文化丰富了其民众对于“雪”的体验,游牧文化对“气味”的高度崇拜培育了一众对于对于“味道”体验十分敏感的“意识们”和“身体们”。感觉体验总是和认识世界和为世界创造意义离不开的,不同的具有集体性的体验也因此塑造了一个个“体验现实”和或多或少上了一把文化锁的“民族感觉生活世界”。这些世界,这些具有民族性的感觉体验等待着更多人的解码。

着眼于中国,略不同于源于德国历史的有着“触摸”意义的古英文“feeling”,中国文化所促生的包涵“心的震动和身心领悟”的“感觉”按照推断必然有着自己特殊的材质,运动和哲学内涵。

那么,中国文化对于人的“感觉方式”和“感觉体验”是如何塑造和引导的呢?中国人的感觉文化的“民族性”又是什么呢?在佛,道, 儒三种文化的千年的浸泡下,中国人的身体被怎样塑造了?这种身体如何以一种特别的方法去和世界相接触?这种接触又产生了怎样特别的体验呢?从物理角度看,作家杨健民先生曾说中国人的感觉是一种有特点的综合躯体感觉,心理感觉,想象感觉,道德感觉的“感觉”。如果从个人体验角度看,综合史料(绘画,古诗词,舞蹈,音乐等),中国文化似乎塑造了一个个对于“气”“风”“呼吸”极为敏感的身体。似乎所有体验都被包裹在一团薄烟中。以气为媒介,中国文化随风进入人的身体,意识,人生,又在人的身体空间生发出一系列有特点的体验。例如,仁义礼智信忠勇慈孝和仙侠逸清高象神韵情怀等等。这些奇妙的“心的震动和身心领悟”时而为抽象的气,时而为物理的风,时而为流动的时间,时而为固定空间,跨越千年,不断的绵延,进化,更新,组成了语言难以囊括的,带有时代标志的(60年代,70年代,80年代,90年代…),带有地域标志的(依山,傍水,城市) 的中国式“感觉”。

如果“感觉”这种体验性现实是超越文本的,民族性感觉是否可以通过影像促成身体和身体,皮肤和皮肤之间直接的交流呢?一众电影人和影像艺术家们的作品,例如荷兰纪录片人伊文思的《风的故事》,中国电影大师费穆的《小城之春》,影像艺术家邱黯雄的《新山海经》,杨福东的《一年之际》,魏梦琪的《庄周梦蝶》,王苡沫的《人间狂想曲》等似乎隐隐的提供了一个肯定的答案。目前,中国在国际社会上逐步成为关注的焦点,然而,文本的直译所产生的体验性信息的流失以及感觉信息在化为语言时所产生的曲解却并没有随着这种关注所逐步减少。本次展览希望通过一次影像艺术作品的聚集为基于语言和图像的国际文化传播做一个小扩展。替代文字,本次展览首先希望影像艺术家们深入“体验”世界,探索,发现和展示他们的个人身体所体验到的中国式感觉的形态,材质,特征,结构,运动和作用等。期待影像艺术家们通过影像作品为展览词开篇词所提出的中国感觉的本质,和创作的关系以及影像翻译的相关问题增添新的,先锋的,创造性的回应,探索“感觉”更多被忽略的民族特征。本次展览将分为三个部分包括“对我来说我体验到的感觉是这样的”,“感觉在我的影像实践过程和作品中的存在”以及“我的,“感觉”的影像翻译实践”。通过针对这三个部分的作品的征集,本次展览目的在于通过国内外艺术家对于本次展览问题的影像回应为公众呈现一条隐于日常生活的中国“感觉”当代体验史,影像史 和影像翻译史脉络。让中国感觉文化不只在在观者的思考中中停留,同时在身体上停留从而促成更直接和亲密的理解。

Deadline: 
12/31/2021

Entry Fee:

Contact & Links: 

OPEN CALL FOR ARTISTS

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Artists are welcome to submit their works.

Prizes Details: 

All winning artists will receive a digital award certificate.

Deadline: 
11/02/2021

Entry Fee:

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NEXT at Christie's: London 2022 Open Call

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Next at Christie’s: London 2022 is a hybrid — physical and virtual — exhibition of works by the next generation of artists, taking place in January 2022 and hosted at Duke Street Gallery, Christie's, London. The open call welcomes all London-based artists — either currently studying or recently graduated, and not represented by a commercial gallery. The concept addresses the absurdity of contemporary reality by allowing the ‘Absurd’ to take over the exhibition's artistic and curatorial expression. For more information about the concept, application guidelines and submission form please see  https://www.christies.com/exhibitions/next-at-christies.

Prize summary: 
Paid opportunity
Deadline: 
11/09/2021

Entry Fee:

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Superpresent Magazine - Winter Issue (Vol.2, No.1)

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Superpresent (superpresent.org) is seeking submissions of visual art, film, poetry, essays and short stories for its Winter Issue.

Deadline: 
12/01/2021

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SEASCREEN PROJECT MARKET 2021

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ScreenSingapore is Southeast Asia’s definitive marketplace for filmmakers, producers, distributors, financiers and film buyers to explore co-production opportunities, seek financing, make deals and stay abreast of the evolving film landscape.

SEASCREEN PROJECT MARKET is an annual summit that brings together the best content concepts from Asia and Europe, to meet with international co-producing partners, festival programmers, distributors, commissioners, and financiers.

Up to 15 projects, now across all genres and formats, will be selected by a panel to be featured at the SEASCREEN Project Market.

Selected projects will stand a chance to win prizes at the end of the SEASCREEN Project Market.

While this is open to international applicants, all projects submitted must contain a Southeast Asian element in one or more of the following significant creative roles: 

  • Producers from Southeast Asian nationality or residing in Southeast Asia
  • Director and/or Writer from Southeast Asian nationality or residing in Southeast Asia
  • Shooting or Post-Production location of Project
  • Overall thematic thrust of the Project (involving Southeast Asian lead characters or involving uniquely Southeast Asian issues etc.
Prize summary: 
Selected projects will stand a chance to win prizes at the end of the SEASCREEN Project Market!
Prizes Details: 

In partnership with Southeast Asian Audio-Visual Association (SAAVA) and Ties That Bind: Asia/Europe Producers Workshop (TTB), ScreenSingapore provides an exclusive opportunity to connect promising filmmakers and producers from Southeast Asia and Europe with international collaborating partners, festival programmers, distributors and investors.

Deadline: 
10/31/2021

Entry Fee:

Fee Detail: 
n/a
Contact & Links: 

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