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Is it possible to distinguish between art and the artist? Do only meticulous cleaners safe us from unsubstantial art? How free can art be? Does the art scene need a radical clearing out? Is Cancel Culture a threat to art or are we all just too sensitive?

re:visionism is an exhibition that addresses those questions and the topic of historical revisionism from an interdisciplinary and boundary transcending point of view inspired by the debate initiated by Moshtari Hilal & Sinthujan Varatharajah about Germany's Nazi background, which manifests in the wealth of German corporations and institutions.

The exhibition aims to offer a critical debate about artists who profited from historical revisionism and whose works and lives are still trivialized and glorified.

Our Open Call invites artists to participate in this exhibition and submit either existing projects or ideas they'd like to realize.

The event is scheduled to take place in November in Wuppertal. Depending on the current situation it will either be shown at „kollektiv drei“ or online.

Furthermore, we are looking for someone whose work raises awareness about historical revisionism, and who'd like to share their knowledge in an (online) workshop. 

To break through patriarchal structures this Open Call is explicitely directed at WLINTA* and BIPoC artists.

Please send any questions or applications until October, 3rd, 2021 to: we.are.hysteria.wtf@gmail.com


Kann man Kunst und Künstler:in voneinander trennen? Schützen uns eventuell nur eifrige Reinigungskräfte vor inhaltsloser Kunst? Wie frei darf Kunst sein? Braucht die Kunst-Szene mal eine drastische Entrümpelung? Ist Cancel Culture eine Bedrohung für die Kunst oder sind wir alle einfach zu sensibel?

re:visionism soll eine Veranstaltung sein, die sich interdisziplinär und spartenübergreifend mit diesen Fragestellungen und dem Thema des Geschichtsrevisionismus' - unter anderem in Deutschland - befasst.

Ausschlag- und ideengebend war insbesondere die von Moshtari Hilal & Sinthujan Varatharajah

begonnene Debatte über Deutschlands Umgang mit dem eigenen Nazierbe, das sich vor Allem am Kapital deutscher Unternehmen zeigt.

Die Veranstaltung soll eine kritische Debatte um Künstler:innen ermöglichen, die in diesem System von Geschichtsrevisionismus profitiert haben, und deren Leben und Werk (beispielsweise trotz eindeutiger NS-Vergangenheit) auch heute noch weitestgehend unkritisch kommentiert, oder gar glorifiziert werden.

Mit diesem Open Call möchten wir Künstler:innen einladen, sich an der Ausstellung „re:visionism“ , die im November in Wuppertal stattfinden soll, zu beteiligen.

Wenn es die Corona-Richtlinien zulassen, wird die Ausstellung im "kollektiv drei" umgesetzt. Ansonsten weichen wir auf eine digitale Veranstaltung aus.

Wir suchen außerdem eine Person, die sich mit Geschichtsrevisionismus auseinander setzt und ihr Wissen in einem Workshop teilt. Dieser kann sowohl vor Ort, als auch online durchgeführt werden.

Um patriarchale Strukturen, speziell im Kunst- und Kulturbetrieb, zu durchbrechen, richtet sich dieser Aufruf an FLINTA*, Schwarze Künstler:innen und Künstler:innen of Color.

Wir freuen uns über Einreichungen bis zum 03.10.2021 an we.are.hysteria.wtf@gmail.com


Entry Fee:

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Woman Made Gallery: Boundaries juried by Whitney LaMora





Woman Made Gallery is seeking submissions for our April-May 2021 group exhibition juried by Whitney LaMora. This exhibition will be held at the gallery and online. Submissions will request the submitter to select participation in (a) the hybrid presentation (at the gallery and online) or (b) the virtual exhibition only.



As the world continues to grapple with an isolated reality at the conclusion of one full year of pandemic conditions, the parameters of how we live and move through the world have drastically changed. While many new physical boundaries have been defined for us, other boundaries were left to be defined. This exhibition considers the magnitude of this particular moment, as well as conceptual dimensions and negotiations of boundaries broadly, and as particularly experienced by womxn and non-binary individuals. We encourage intersectional approaches that include consideration of sexuality, race, class, and disability.

Woman Made Gallery is particularly, though not exclusively, interested in investigating the following conceptual questions for "Boundaries":

  • What are the areas in womxn and non-binary lives in need of boundary definition? How does identity condition the ability to set boundaries?
  • How have physical, virtual, emotional boundaries affected womxn and non-binary folks? How do we protect or find our energy?
  • How do we make sense of work-life balance, within the parameters of our new reality and for those exclusively working from home?
  • What are the digital boundaries set within our physical boundaries at this time?
  • How have conversations and points of connection changed, now with the capabilities to turn off your camera, or mute a person while they speak?
  • How have the newly constructed boundaries disproportionately affected womxn and non-binary folks?

Woman Made Gallery seeks artwork in all mediums. The juror is especially, though not exclusively, interested in artworks from the following mediums:

  • Video work/installation
  • Digital renderings
  • Digital art
  • Photography
  • Textile Work
  • Fiber Work
  • Fiber / textile / fabric / weaving based installations
  • Performance art*

*The ability to perform in the gallery space may be limited due to CDC and City of Chicago COVID-19 guidelines. In the event that a physical performance may not be possible, a video documentation of the performance will be exhibited.



Whitney LaMora (she/her) is a queer Chicago-based creative. Her artistic background spans from theatrical production to art curation, entrepreneurial leadership, goal-oriented mentorship, and beyond. She is a champion of interdisciplinary projects and emerging / DIY creators.

She lives in Logan Square, obsessively reads, and takes in plants. Whitney is the creator of multiple Chicago art entities like Locus and the Accountability Club.


EXHIBITION DATES: April 15 - May 16





Woman Made Gallery is a space for Women, Womyn, and Womxn identifying artists from our local community, regionally based, and around the world. We welcome art from all womxn, including trans women and femme/feminine-identifying genderqueer and non-binary artists.

No work may exceed 6’ horizontally or be over 75 pounds in weight unless delivered and picked up by the artist. WMG will refuse receipt of art that is heavier than 75 pounds. Technology and/or works with special instructions will be organized upon acceptance.


This show, like all juried WMG shows, has an entry fee of $30. Only one submission may be entered per artist. Each submission requires one artwork, though up to three artworks may be considered per submission. Paid submission does not guarantee an exhibition opportunity. No refunds offered.

WMG members at the Enhanced Artist level and above receive one free entry annually. Please email general@womanmade.org to receive your one-time code for free entry redemption.

On a needs basis, WMG offers a limited number of fee waivers upon approved application. Applications are available within each call for entry. The team at WMG will review applications on a rolling basis and send fee waivers within 48 hours of application.


Terms of exhibition will be distributed for agreement to all accepted artists upon acceptance notification. Terms of exhibition include exhibition schedule, shipping and delivery, installation requirements, insurance disclaimer, art sales and commissions, right of reproduction of digital files and images, website and publicity requirements, among others. For details on terms of exhibition, please review details for each call for art or email general@womanmade.org with questions. 


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AURA @auracurate is an Instagram platform showcasing Women-Identifying Art Creatives, including (but not limited to); Artists, Curators, Art Historians, Designers, Gallerists etc. After 2 months of solely being an online gallery, I am looking to expand the opportunities at AURA by creating a downloadable zine. 

The first issue of the zine will be based on the theme of 'Women Artists' as a whole. 

I am looking for submissions from Women-Identifying Creatives which comment or critique this theme. Submissions can be in the form of:

  • Artwork
  • Art Reviews
  • Think Pieces
  • Art Writing
  • Articles
  • Essays
  • Any other form of work that may hit the brief



Entry Fee:

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Sound, Language & Position with AGF





Workshop dates: 17/05/2021 - 2021-08-31
Listening is a practice - it is a political act. Sound is a way of knowing the world; a way of orienting ourselves, of expressing, understanding and contextualising our position. We can use sound to make connections, to grow decentralized networks, to organise. The possibilities of language - political language, deconstructed language, poetic language - to organise these networks and connections is intensely powerful and nuanced. What is political sound? Or collective sound? Does it have a transformative quality? How can we make sound together, and decolonize our practice as an individualistic form of expression? What technology can we involve, develop or hack? 

And, as we explore these networks, there are important ethical considerations. What is the relationship between the recorder and recorded? Do I have consent? Is it my place to tell this story?

This workshop will focus on each participant working to develop their perspective on three elements: sound, language and position. Each session will develop from the presentation of new ideas through to a set of directions, and assignments for the next session. There will be face-to-face meetings and group listening, as we manouvre towards the production of a short-form audio work for presentation on recon (https://rec-on.org)

Antye Greie (aka AGF) is an East-German artist and producer living on Hailuoto Island, Finland. She assumes a multiplicity of facets and roles – sound sculptor, poet, composer, gender activist, sound and new media curator. Her experimental music, without completely leaving the dance floor, proves hard to label. Her sounds at times echo musique concrète, other times glitch or noise, alluding to icons like Björk or Laurie Anderson. In spite of her clear poetic tendencies, language requently disappears in her work, drawing the human voice into a game with pure tonalities, beyond worn out recognizable speech. Ambient sounds, synthesized voices, dissonant malfunction warnings drain into the atonal river of post-digital aesthetics.

Having participated in Documenta 14 and Transmediale and received an award at the Ars Electronica festival (2014), Antye Greie is a complex artist whose praxis, though socio-politically laden, goes beyond mere ideology. Her fluctuating, modulating identity composes and recomposes itself from samples, comments, likes, and photos on Facebook, Mixcloud tracks, bytes circulating at dizzying speeds, always one step ahead of the newest control tech.

Antye's installation "Mycelium" - in which mushrooms generate sound, composing music in real time - ties into a larger project entitled (sonic) Wild Code, in which AGF and a group of artists, anthropologists, and computer scientists construct music from the audio feedback caused by rocks, wind, plants, streams, and a metal reindeer fence. These experiences in hybrid ecology were commented on by the artist in a text which recently came out in Musical Instruments in the 21st Century (Springer, 2017), a volume with theoretical underpinnings, broadly, in Deleuze’s theory of assemblages, of hierarchy dissolution, and free, rhizomatic relations.

Antye is an active member of the female:pressure community, and has militated for Kurdish and Syrian women and for the visibility of female electronic music artists and producers, actions echoed in the recent tendencies of Romania’s art paradigm (see Bucharest’s party scene and collectives like Vagenta and Corp). Her discourse aims at promoting equality of opportunity and diversity on the electronic music scene, interweaving power, responsibility and aesthetics.

(Image of Antye by Inkeri Jantti)

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Open Call “3/21 - hysteria”

The history of hysteria is a history of the relation between the colonizing father and the colonized devalued other.”

Judith L. Alpert





Hysteria was considered a "female" illness until well into the 20th century and was treated with violent methods. Today, gender minorities who fight for their rights are described as "hysterical", while populations who rebel against dictatorships are oftentimes not only silenced on a daily basis but also brutally beaten down during protests. Victims and survivors of psychological and physical violence are met with a lack of awareness. Those, who speak up about their experiences face victim blaming, defamation and retraumatization. 

But what exactly is hysteria and how does it manifest? When is hysteria a needed call for action, when is it hyperbolical selfishness? And why is there a lack of support for those, who don't want to accept what is occuring to them? How is it possible that politicians world wide are still able to stir up fears? 


The above mentioned and many other questions will be discussed during the exhibition hysteria organized by Lisa Jureczko and Ava Weis. The exhibition will take place between March 12th and 14th, 2021, online - and if the current situation allows it - offline at our studio kollektiv drei in Wuppertal, Germany.

hysteria is meant to be a possibility to deconstruct the patriarchal structurs of the art scene. Especially marginalized groups are those, who are faced with the accusation of being "too hysterical" and whose voices are oftentimes overheard, ignored, appropriated or censored.


Therefore, this call for applications is aimed particularly at FLINTA and artists of color.


We look forward to your submissions by February 10, 2021.


Wurde Hysterie noch bis weit ins 20. Jahrhundert als psychische Frauen*krankheit gesehen und mit gewaltvollen Methoden behandelt, erlebt sie heute ein denkwürdiges Revival. Gender-Minorities, die weltweit um die ihnen zustehenden Rechte kämpfen, werden als hysterisch verschrien, immer mehr Bevölkerungen lehnen sich gegen diktatorische Staatsgewalt auf und werden dabei brutal niedergeschlagen. Betroffenen von psychischer und körperlicher Gewalt wird Unverständnis entgegengebracht und die Schuld für ihr Schicksal zugesprochen. Wer mit den eigenen Erfahrungen an die Öffentlichkeit tritt, wird nicht selten diffamiert und re-traumatisiert. 

Aber was genau ist Hysterie? Welche Formen kann sie annehmen? Wann ist hysterisches Verhalten ein benötigter Aufschrei, wann ist es übertriebener Egoismus? Warum mangelt es an Unterstützung für Menschen, die nicht stillschweigend hinnehmen wollen, was mit ihnen geschieht? Wie schaffen es Politiker*innen immer noch mit Polemik Ängste zu schüren?

Diese und weitere Fragestellungen behandelt die von Lisa Jureczko und Ava Weis konzipierte Ausstellung hysteria, die vom 12. bis 14. März im kollektiv drei in Wuppertal stattfindet. In den Räumlichkeiten sollen dafür weitere Arbeiten diverser Künstler*innen aller Sparten gezeigt werden, die "Hysterie" und den Umgang mit eben dieser thematisieren.

Mit hysteria möchten wir die patriarchalen Strukturen der Kunst- und Kulturbranche durchbrechen, denn es sind vor allem marginalisierte Personengruppen, die mit dem Vorwurf der Hysterie konfrontiert, und deren Stimmen weitestgehend übergangen, angeeignet oder zensiert werden.

Daher richtet sich diese Ausschreibung insbesondere an FLINTA und Künstler:innen of Color. 

Wir freuen uns über eure Einreichungen bis zum 10. Februar 2021.


Entry Fee:

Contact & Links: 





La Vienísima announces the first feminist photography contest PERSPEKTIV_A on the occasion of International Women's Day. An initiative that arises with the aim of giving visibility to women artists and photographers, promoting the achievement of a more just and egalitarian society, promoting feminist movements and stimulating the creativity of participating women. Why only Women? Because although at the international level we find a high number of active professional female photographers and it is a group with high education, training and specialization, there is an evident imbalance in visibility, as well as in access to the mechanisms of distribution, legitimation and commercialization of the artwork compared to male artists.

Prize summary: 
100 euros / 50 euros
Prizes Details: 

Professional Jury Prize: 100 euros + Diplom

Public Jury Prize: 50 euros + Diplom

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