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Contemporary Activist Visual Art Performance with Martha Wilson





CAMP is a residential arts facility in the French Pyrenees. It's a place where great art is made, new movements are formed, new ideas are explored and groundbreaking people are nurtured. CAMP is located in Aulus les Bains, the last village before the France/Spain Pyrenean frontier chain. The location is spectacular - we are nestled at 750m above sea level, surrounded by snowcapped peaks over 3000m high, ancient forests and cascading waterfalls. There are eagles, lammergeiers, vultures, ibex and bears. Walk out of the residency, and within ten minutes you are completely alone in one of the most beautiful mountain landscapes in Europe. Aulus les Bains is also a spa village - there are hot water springs, and a thermal spa in the village to take advantage of the healing and relaxing properties of the water.
Workshop dates: 07/11/2021 - 05/12/2021
Activist avant-garde artists have historically ignored national boundaries as well as aesthetic ones, taking regular people to be their audience and any subject or material under the sun to be appropriate to their means.  Contemporary activist visual art performance practitioners view this avant-garde legacy as their own, incorporating musical, theatrical, literary, dance, film and technological elements in their work in order to address the pressing issues of our time.  This course will focus on critical examples of performance art from the last century to today to analyze how artists have positioned themselves in relation to current standards of artistic production and developed techniques of provocation to activate the audience.  Course work includes readings of primary and critical texts, class discussion, and performance art presentations by each member of the class presented on Zoom followed by discussion of this individual work.

Martha Wilson is a pioneering feminist artist and gallery director, who over the past five decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and "invasions" of other people's personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances as political personae. In 1976 she founded, and as Founding Director Emerita, continues to help direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.

Martha was described by New York Times critic Holland Cotter as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s" - she remains what curator Peter Dykhuis calls a "creative presence as an arts administrator and cultural operative." Martha's early work is now considered prescient - in addition to being regarded by many as prefiguring some of the ideas proposed in the 1980s by philosopher Judith Butler about gender performativity, many of her photo-text pieces point to territory later mined by Cindy Sherman, among many other contemporary artists.

As a performance artist she founded and collaborated with DISBAND, the all-girl punk conceptual band of women artists who can't play any instruments, and impersonated political figures such as Alexander M. Haig, Jr., Nancy Reagan, Barbara Bush, Tipper Gore and Donald Trump.

The workshop is open to everyone, from any artistic or academic background, at any level of experience.

Contact & Links: 

Call for Participation: Terms and Conditions of Art Writing and Publishing in Southeast Asia



Southeast of Now and Afterall are pleased to announce an open call for participation in a series of five weekly workshops, to be held online in November and December 2021. 

The goal of the workshops is to develop convivialities, facilitate peer learning, and experiment with diverse or new forms of art writing and publishing among researchers, artists and writers across the region. 

The workshops are for participants based in Southeast Asia. They are addressed to those who are writing art criticism, art history and engaged in knowledge production about art more broadly – across both academic and industry publications as well as more casual and experimental platforms such as memes, games, manifestos, exhibitions, zines, video essays, interactive websites, crowd sourced archiving, podcasts, etc. 

The workshops will offer you a supportive peer-learning environment to develop your research and writing practice. The programme will be designed according to your approaches and interests and those of the whole participating group. Each workshop will invite a ‘special guest’ to share knowledge, experience, and respond to your work. Southeast of Now and Afterall also offer a platform for potential publication of your work developed through these sessions.

The workshops also aim to develop and share resources on how to survive the often self-precaritising modes of academic and cultural labour and to imagine an ethos of solidarity within writing and publishing. As a cohort of journal editors, we would also like to discuss ‘elephant in the room’ issues such as access, privilege, hierarchy, accountability, politics of language, unconscious bias, discrimination and positive discrimination, censorship and self-censorship etc. 

We welcome participants with varying degrees of English language proficiency. To apply, please respond to the three questions on the application form and upload a 1–2 page CV and a sample of your writing or a portfolio, if applicable. Your answers will be our main reference to structure the workshops and invite relevant speakers.

- Basic communication skills in English are necessary.

- Writing/proposals can be submitted in English, or in one of the following languages: Khmer, Indonesian, Malay, Chinese, Filipino, Thai.

- Participation is free of charge.

Convened by Adeena Mey, Simon Soon, David Morris, Brigitta Isabella, Lyno Vuth, Eileen Ramirez and Thanavi Chotpradit; and supported by the British Academy’s Writing Workshops 2021 Programme, supported under the UK Government's Global Challenges Research Fund. 

For inquiries, please contact:

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Everything you need to know about curating and organizing an exhibition or a pavilion at the (Venice) Biennale.





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

27.09 – 18.10.2021

Deadline: 15 September 2021

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.

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.

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.

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.

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.

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.

Your event needs more money! How do you identify possible sponsors. Which is the best strategy to approach a potential client for your initiative.

Session 8.

What can you do for your supporters. The Venice Biennale is an exclusive way to say thank you.

Session 9.

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 10.

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

Prizes Details: 

The fee is 2900 euro.

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

Contact & Links: 





ABSTRACT IN NATURE by Andrew Hockenberry (
August, September, October 2021

Session 1: August 6-14
Session 2: August 20-28
Session 3: September 17-25
Session 4: October 1-9

Course Description:
In this 8 days hands-on course, we will discuss and participate in creating abstract art and sculpture specifically outdoors, influenced by nature. Creating an outdoor artist studio we will be surrounded by nature to see how that influences the abstract form. Bringing together artists from all around the world we have the opportunity to explore and learn from each other’s art studio practices and education and life experiences. We will eat in the season the Italian way, drink their wine and enjoy the company of the artists most lucky to be involved. Each day will be planned withloose guidelines to ensure time is used wisely but each artist will have the freedom to explore and create.

Upon request, artists can also benefit of private indoor studio spaces at RUC.

Tuition fee: €1,500 (housing fee included)


Contact & Links: 

NFT Seminar





NFT Seminar

Sign Up Deadline:
Wednesday, May 12th, 2021

Zoom Date & Time:
Thursday, May 13th, 2021 - 8-9PM

Contact & Links: 

6 WEEK BOOTCAMP - Artist Stop Being Poor





2020 was a tough year for the artworld, my own career was no exception, all my plans were turned upside down, and I had to quickly adapt to a new way of presenting, communicating and selling my art.

Crises are usually great opportunities for growth, and I used my extra free-time to plan on how to completely restructure my art career to adjust to a world without art events.

One year after, my art career has now been taken completely online, and now I want to show you how to do the same.

That’s why I created the ARTIST STOP BEING POOR BOOTCAMP to help you better prepare your art career for what’s to come.

In this 6-week program you’ll learn

How to introduce yourself and your art in the online world

How to communicate your art and connect with your audience

How to promote and sell your art online

And much more!

This program aims to help you future-proof your art career, preparing for the post-pandemic art world and whatever comes next!

Contact & Links: 


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