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Art From Detritus 2023
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Viridian Artists is proud to present: Art From Detritus 2023
Exhibition Dates: March 28–April 22, 2023
Entry Deadline : Thursday, March 2, 2023
Juror and Curator: Vernita Nemec: Executive Director of Exhibitions at Viridian artists.
Vernita Nemec is an artist & curator who has been creating exhibitions of Art from Detritus for over a decade and is the Executive Director of Viridian Artists in New York City.
Creating art from discarded materials is a crucial and responsible way that artists can reduce environmental harm. This exhibition will be juried & curated by Vernita Nemec, an artist & curator who has been creating exhibitions of Art from Detritus for over a decade and is the Executive Director of Viridian Artists in New York City.
Accepted Work: This is a call for art created primarily with recycled materials that would usually be thrown away & added to the landfills of the world. All Art must be made from 80% Detritus.
Location:
Viridian Artists
548 West 28th St. #632, NY NY 10001
Deadline:
02/March/2023
Entry Fee:
- Yes
Fee Detail:
$45/ 3 works, $5 each additional work.
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Terre da Film Festival - Open Call 2023
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Terre da Film is a place where people meet up to live an experience through cinema, art and more. Every summer artists, filmmakers, poets, students, tourists and locals live for a few days in the town of Canelli to create a unique temporary community.
Next edition will be during the first two weekends of July. We are looking for films for our screens and people to meet.
In 2023 Edition Terre da Film will focus on the theme of THOUGHTS ABOUT THE ENVIRONMENT.
How does a living being dwell and influence its own environment? How does an environment influence beings/organisms by which it is constituted of?
“Every subject spins out, like the spider's threads, its relations to certain qualities of things and weaves them into a solid web, which carries its existence.” Jakob Johann von Uexküll.
We are looking for movies showing this continuous interdependence between organisms/individuals and their own environment.
Considering this aim, we expect projects pointing out these wrong dichotomies and how to tear them down:
Individual/Environment
Subject/Object
Inside/Outside
Dwell/Build
Understand/Act
Create/Destroy
Human/Animal
…
We select short films of fiction, animation, documentary, experimental and more, with a maximum running time of 30 minutes.
Prize Summary:
Win up to $ 300 cash prizes
Prizes Details:
o 1° Jury Prize (300 € + Trophy)
o 2° Jury Prize (300€ + Trophy)
o 3° Jury Prize (300€ + Trophy)
o Audience Prize (Trophy)
Location:
Canelli (AT), Italy
Deadline:
25/April/2023
Entry Fee:
- Yes
Fee Detail:
3$ / 15$
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#OctopusStory Open Call for Proposals - Installation and Art Direction
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#OctopusStory Open Call for Proposals
Project Background
Portsmouth is a city surrounded by the sea. Changes to the health of the ocean have an impact on the city, from pollution to rising sea levels we are as affected as the creatures that live in the water.
A nine-month long project is working with people across the city to produce a large-scale immersive audio-visual installation and theatre performance inspired by the ‘Octopus Medicine’ poems by Becci Louise. This will encourage audiences to develop a connection with the ocean, both as an otherworld and an eco-system upon which our own, terrestrial lives, thoroughly rely.
In November 2022 the flagship event of the project will take place at Portsmouth Cathedral. Over 3 days immersive theatre, video projections, soundscapes and performance will take visitors on a journey to an undersea world full of magic and mystery.
Project Requirements
The project is issuing an open call for proposals to respond to one or more of the requirements for a giant octopus and three separate installations.
The work will be installed inside Portsmouth Cathedral. Performances will last around 50 minutes. During the three performances there will be around 200 people in the building. The work needs to be suitable for all 200 people to experience in the time available without noticeable queuing.
The Cathedral will be open for services and may be open to the general public during the day. The proposals must be robust enough to deal with people touching it or be designed to avoid this. If barriers are included to prevent people touching the artwork this cannot compromise the aesthetic of the proposed work.
Portsmouth Cathedral is a listed building and a place of worship. Installations cannot affect the fabric of the building and must be respectful of its primary purpose.
The project has no specific requirement in relation to the materials used and welcomes creative ideas that take a broad interpretation of ‘installation’.
It is recommended that you read the short poem book ‘Octopus Medicine’ by Becci Louise to inform your proposal. The book can be purchased from https://www.crowdfunder.co.uk/p/octopusstory/backers#start or borrowed from any of the libraries in Portsmouth.
The expected fees shown for each item are to help you produce appropriate proposals. The project budget is exceedingly tight and the amount available is less than the total maximum fees. The project considers cost as important as the creative idea. You can submit differently priced proposals for any requirement (e.g a lower cost and a more expensive option).
Applicants will be selected based on the best overall combination of proposals that falls within the budget available.
There is an under investment in arts in Portsmouth. The project has a preference to award the work to people based in this area subject to finding suitable creative ideas within budget.
The project will have riggers on site for the installation of artwork who can help with the set up of anything that needs specialist rigging.
The project is working with a lighting company who will illuminate the Cathedral, octopus and installations. Any audio in your proposal needs to consider there may be an ambient soundscape in the Cathedral as part of the overall event.
Giant Octopus
The project needs to commission or hire a replica of a giant octopus at least 5 metres in size. The octopus doesn’t need to be realistic but should avoid cartoon or comic book depictions of octopuses. It is not yet known how the octopus will be displayed but it may need to be suspended so a lightweight solution may be preferred. The octopus will be displayed within the Cathedral so does not need to be weatherproof.
Expected budget: £600-£1600
Camouflage installation
The project requires an installation that responds to the following:
An octopus melds with its environment, blending with its surroundings, adapting quickly to new situations. It becomes a part of its world. I think we can learn, from the octopus, how to integrate ourselves back into the natural world without harming it or ourselves. An octopus lives in harmony with its habitat. We need to learn to do the same.
It is anticipated that the footprint of the installation would be around the size of a family car.
All essential elements of the installation must be provided e.g. the project is unable to provide plinths etc.
Expected budget: £500-£1000
Collaboration installation
The project requires an installation that responds to the following:
An octopus has whole body awareness; it has nine brains (one central brain, and one brain in each arm). There is so much neurological matter in each of their arms that scientists have speculated each arm might have its own personality. We can also learn to collaborate with others and work together as a team to solve the worlds environmental problems.
It is anticipated that the footprint of the installation would be around the size of a family car.
All essential elements of the installation must be provided e.g. the project is unable to provide plinths etc.
Expected budget: £500-£1000
Curiosity and play installation
The project requires an installation that responds to the following:
Octopuses love to learn. They are endlessly curious, they love to play, they solve problems and investigate the world, we can learn and research about nature so that we can live in harmony. I think we need to learn to be more curious and playful.
It is anticipated that the footprint of the installation would be around the size of a family car.
All essential elements of the installation must be provided e.g. the project is unable to provide plinths etc.
Expected budget: £500-£1000
Timeline
Responses should be submitted to octopusstoryportsmouth@gmail.com by 10am on Monday 22nd August
Applicants will be informed of the outcome by 9am on Thursday 1st September.
Completed work must be available for inspection by Friday 14th October. Appointments will be made with the successful applicants.
Work must be delivered to Portsmouth Cathedral on Monday 14th November for installation.
Work must be collected from Portsmouth Cathedral on Monday 21st November.
Please send details of your proposal to octopusstoryportsmouth@gmail.com by 10am on Monday 22nd August
Your proposal be laid out in the following format in a single document (e.g. Word, Powerpoint, PDF etc).
SUBJECT: Which requirement you are responding to
DESCRIPTION: A description of your proposal which should be a maximum of one side of A4
SIZE: Approximate dimensions of your proposed solution
COST: Cost including VAT (if applicable) for the time and materials required for production and delivery/collection of the artwork.
LIGHTING: Whether you have any specific lighting requirements
PROPOSAL IMAGES: A minimum of one and maximum of four sketches or other representation so your proposal can be visualised
MATERIALS: Images of the materials proposed so your proposal can be visualised
PRIOR WORK: A maximum of six images of prior work relevant to this proposal, including approximate sizes and budget
LOCATION: Town/City where you are based
ECONOMIES OF SCALE: If your application covers more than one requirement you need to respond to each requirement separately. If there are any economies of scale these must be listed in a single ‘economies of scale’ section at the end of your document and set out the discount to your costs if you are awarded more than one piece of work. The project will review each response to each requirement independently and applicants proposing solutions to more than one requirement might be successful in fewer areas than they proposed.
If you do not receive a response confirming receipt of your proposal please contact Angela Parks
Location:
Portsmouth Cathedral, Portsmouth, UK
Deadline:
22/August/2022
Entry Fee:
- No
Contact & Links:
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<Art Like Salt> 2022 Open Call for Residency Artists
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<Art Like Salt> 2022 Open Call for Residency Artists
Taepyung Salt Farm X LAMPLAB seeks artists to submit entries for the juried exhibition, ‘Art Like Salt.’ The winners will be chosen to participate in a residency program in Shinan, designated a ‘Slow City’, in South Jeolla Province, South Korea, with the opportunity to create work in any of the following formats; photography, video, installation, sculpture, or sound with the theme of ‘Dear Friend'.
2022 Theme : The Open World, and Beyond
Anxiety about the future is the fate of human beings who do not know their own end. If we could know exactly how much time was given, humans would be able to live a very different life. The fate of living in a limited time reinforces the aspiration and challenge for permanence. All human activities for material and practical as well as nonmaterial and spiritual values are not solely for the time in this world we live in now.
The new media environment discloses that what’s right in front of you is not your whole world. Digital footprints that never disappear, virtual reality that continues to expand, and media environments that provide a more intense experience than reality have already come into our lives. We may have already got what we want. The ability to transcend time and space may be our blessing and disaster as we live in an unprepared world that Jose Saramago has shown us in 『Death with interruptions』.
What has happened over the past decade or so at the salt farm on a remote island by the sea is a testament to the technology-driven ‘the way the world expands.’ A bridge was built between the mainland and the island, and an airport was built within a 30-minute drive away, increasing convenient access to and from facilities. It will take only a second to find useful real information before setting foot in the island. People already know about the white salt farm, the red sunset, the milky sky, and the
waterway that winds through the tidal flats, just as people think of Van Gogh's yellow sunflower fields before going to Provence in France. But art and artists exist for what we don't know yet.
For the past three years, artists from all over the world have submitted applications to participate in the <Art Like Salt> residency program, and the selected artists continued their lives and work for three months in the island. It was an exciting challenge for both artists and administrators to eat, sleep, continue their work, and meet people in a completely unfamiliar place. The artists' time was incorporated into the works on the island and carried onto the exhibition. When the artists leave, the island expands with what they left behind. We are building up more and more stories across time and space. Expectations are high about what will happen in the new Earth that has been swept away by the pandemic.
#time&space #extension #post_covid19
● Media
Video, photography, installation, sculpture, and/or sound
● Submission Period and Deadline
April 11th ~ May 8th, 2022 24:00 (Korea local time)
NO ENTRY FEE.
● NotificationThe winner(s) of the submission will be notified after May 23rd, 2022
Prize Summary:
6,500,000 KRW + AIRFARE UP TO 1,200,000 KRW
Prizes Details:
● Benefits for the Winner(s)
The Winner(s) of the Year (an individual or group) will have the opportunity to participate in a residency program for 12 weeks between June and November 2021. (The residency and studio will be provided)
The artworks of the winner(s) will be exhibited at the Salt Museum located in South Korea, for 4 weeks for each artist.
The winner(s) also will be rewarded 5,000,000 KRW (before tax), and 1,500,000 KRW (before tax) for general expense, and travel expenses up to 1,200,000 KRW (before tax, the proof of airfare is required)
Deadline:
08/May/2022
Entry Fee:
- No
Contact & Links:
CALL FOR ENTRIES- Time to Waste Journal
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Time To Waste is an online creative journal that aims to showcase the work of creatives who work in sustainable ways or whose practice draws attention to environmental & ecological issues.
We are currently planning for Issue 3 (to be released early 2022) and are calling for artists of all stages in their career to apply!
Time To Waste publishes digital issues on a periodical basis, whilst accepting submissions all year round. The submission requirements are to encourage creators to submit their work in any medium that successfully communicates their sustainable efforts.
We welcome submissions that are experimental, innovative and/or discipline-blurring. We greatly encourage submissions from Indigenous and First Nations peoples, people of colour, people with disabilities, and people of all genders and sexualities.
Entry Fee:
- No
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Nature Scribbles and Flesh Reads
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This residency proposes a process of collective research into relationships between body and environment, through an investigation of the impact of chemicals and toxins on human and non-human bodies.
Kajsa Dahlberg writes:
I still vividly remember the childhood sensation of visiting my grandmother’s tiny fabric store in the (then) working class neighborhood of Majorna in Göteborg. I would suffer immediate physical reactions: itchy eyes and throat, nausea and fatigue – plus an emotional conflict between the comfort I felt in the company of my grandmother and the messages coming from my body, telling me, “Get out!” Even as a small child I was able to sense the significance of the shop and its contents as a place that was simultaneously familiar and deviant, even threatening.
This residency sets out to investigate environmental pollution and its unequal effects on all things living and non-living from the perspective of transcorporality – a concept developed by Stacy Alaimo to describe the ways that human and non-human bodies are “intermeshed with the dynamic, material world, which crosses through them, transforms them, and is transformed by them.”
We are all exposed to a material world that is constantly moving in and through our bodies. In this respect the body could be seen as the scientific instrument through which we register our environment. When overexposed, the body autonomously sets boundaries, and in this process, it also describes the world from which it emerges. It is one way of being in touch; of being in a reciprocal relation to the world.
An example: Parallel to the growth of the petrochemical industries since World War II –i.e. the beginning of what has been named the Anthropocene Epoch– more and more people experience bodily reactions to "normal" amounts of environmental toxins. These toxins come from an increased use of agricultural fertilizers and pesticides. Synthetic materials such as particle board, plastics, food additives. Chemicals used by the textile industry.
Throughout the course of the residency participants will be invited to question the ways in which their bodies become registers of their environments. Questions guiding this enquiry include: What is the threshold between that which is toxic and that which is not? How do we, the residency group, register the Anthropocene in our bodies and by what normative standards? What is a normal body? In what instances do our intensities and sensitivities become strengths that help us see the world as habitable and animate? What opportunities arise when we have non-normative experiences of the world?
To understand ourselves as trans-corporal subjects for the duration of the residency means not only to put emphasis on the possibilities and limits of our own corporeal selves, but it also entails acknowledging that the marks left across bodies are not equally distributed. They are informed by the conditions under which one works and are connected to the landscapes one inhabits. This opens up questions such as: whose bodies sustain the most extreme impacts of contemporary industrial production? In what ways does pollution extend beyond geopolitical boundaries and how are these ongoing material interactions gendered, racialized and reverberated by massive inequality?
Research Approach
This investigation “moves through” bodies both literally and metaphorically, inviting multi-disciplinary perspectives. Applications are welcomed from potential participants whose approaches may be historical, nonhuman, medical, ecological, legal, geological, personal, political or otherwise relevant to the residency agenda. Kajsa Dahlberg hopes to bring together a group of collaborators from diverse backgrounds to focus on a process of collective learning, research and the sharing of experience.
The residency’s key foci will be; on the ways that the interactions of material worlds and bodies become visible; on the variable politics of representation that inflect those processes; on the relationships between the body as instrument, registering the world that surrounds it; and the physical registrations that artists make via images, sound and the reorganisation of matter.
Through the residency, participants will engage with spaces and things, seasides and roadsides and each other, through presentations, readings and talks, physical and imaginative exercises, queerfeminist discourse,affect theory, crip theory, environmental activism and/or much more.
Potential Outcomes
The residency aims to bring together aspects of the residents’ collective research into a publication or another form, to be launched at Index in Stockholm – most likely alongside Dahlberg’s upcoming solo presentation at the gallery (dependent on Covid and/or other contingencies).
Prizes Details:
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 PRAKSIS and other locations, and at events and meals.
Selected international participants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.
Weekly meals encourage discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at PRAKSIS HQ. Dinners for all residents plus invited guests are 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, introducing the residency community to Oslo creatives in various spheres, including curators, writers, and artists.
Residents are responsible for their own travel and any further costs.
Three places are available for international residents. Further places may be offered subject to securing support. Approximately four spaces are available to local residents.
Deadline:
09/January/2022
Contact & Links:
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