technology

Performing Arts and the Digital Realm: Professional Development Opportunity.

Category:

City:

Eligibility:

Performing Arts and the Digital Realm: Exciting Professional Development Opportunity.

Are you keen to explore new technologies to take your performance practice to another level?

Open Online Theatre (OOT), the interactive live-streaming platform of IJAD Dance, is offering residencies to two performing artists keen to integrate technology into their practice. 

Throughout March and April 2022, resident artists will receive mentorship, plus practical sessions with a team of technicians, while developing a short piece for inclusion in the hybrid OOT Festival 2022, to be live streamed to an international audience from Rich Mix, London.

Successful candidates will gain new skills via:

Up to 15 hours mentorship (live and virtual) in Sensography*, filming, and live editing

Use of an up to 6 camera live streaming set-up, with technicians available 

Studio time with mentors while rehearsing, testing and investigating 

Offering monetised workshops and co-creation sessions on the interactive OOT platform

A performance slot in the hybrid OOT Festival 2022, streamed live from Rich Mix, London, April 29th/30th

Up to 2 days tech rehearsal at Rich Mix in the run up to the festival

More details here: https://ijaddancecompany.com/jobs-auditions-opportunities/

Apply here:

shorturl.at/rILM0

Deadline:

21st of February 2022 midnight

 

Application clinics online: 8 February at 12:00 & 9 February 19:00 2022 Please e-mail us to choose your slot. hello@ijaddancecompanydancecompany.com

Selection notification: 28 February 2022

Residency period:  8 March  2022 to 30 April 2022

Festival: 29-30 April 2022

 

Deadline: 
21/February/2022
Contact & Links: 

Space Waste Residency

Category:

Country:

Eligibility:

A one-month sculpture residency at Greywood Arts in partnership with the National Space Centre and supported by Cork County Council. 

We are seeking expressions of interest from artists with a sculpture, three-dimensional or multi-disciplinary practice who are interested in examining questions arising around the waste produced by the acceleration of technology. It is an opportunity for an artist to explore the impact of human interactions with space and how we could move forward into the future. What are the implications of sending satellites and other hardware into space? Whose responsibility is it to regulate this and to manage space debris? 

The residency is an exciting invitation for an artist to reimagine and re-purpose technological space components that cannot be recycled. The artist will collect materials from the National Space Centre and observe the workings of a busy ground station before immersing themselves in the creative environment at Greywood. The project concludes with an exhibition and discussion at the National Space Centre in early December to showcase the work created during the residency and kick of the NSC’s 10th birthday celebrations. 

The National Space Centre is set to share space communications components including circuit boards, assemblies and data subframes with the artist, as well as preserved panels from their recently dismantled 11-metre EU-5B4 dish.

“This is a pivotal time in space exploration,” explained NSC CEO Rory Fitzpatrick. “We’re looking at manned Martian exploration in the near future, while Jeff Bezos and Richard Branson have launched space tourism as a viable industry. At the same time, there are more than 125 million pieces of space garbage orbiting our planet. It’s an ideal moment to examine questions around our responsibility to live sustainably not only on Earth, but beyond it.”

Prize Summary: 
Residency with stipend
Prizes Details: 

Residency includes: 

Access to space technology debris from the NSC and time to visit the campus at Elfordstown Earthstation, Midleton Cork, Ireland. https://nationalspacecentre.eu/

Accommodation and studio space at Greywood Arts, Killeagh, Cork, Ireland. Transport between Greywood Arts & NSC. Materials budget up to €500. Stipend of €1,000.

Deadline: 
22/August/2021
Contact & Links: 

Sound, Language & Position with AGF

Category:

Country:

City:

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)

Contact & Links: 

Share Prize XIII Edition

Country:

City:

Eligibility:

The XV edition of Share Festival, the Italian exhibition of contemporary tech art and science, lead by the Artistic Director Bruce Sterling, announces the opening of the call. The theme of this edition of Share Prize is:

 

RIOTS

HERE WE ARE

 

An atmosphere of blissful calm prevails over Share Festival, in the fifteenth consecutive year of our technology-art fair. The cruel word “Crisis” has become old-fashioned here in Italy, a nation whose government is  the most stable of all the G-7 major powers.
Our city has recently signed a ten-point Manifesto of Non-Hostile Communications, which recommends wise principles of civilized discourse online (and is highly suited for public announcements like this one).  The City of Turin has recently celebrated its first “Festival of Technology,” where our erudite populace responded with polite appreciation to the marvels of science. This huge, crowd-pleasing tech festival appeared back-to-back with Turin’s vast, legendary “Artissima” art fair, so that our city can now justly boast of its learned patronage of every form of modern art, and modern research, too!
Here at Share Festival of Piemonte, the radical, cutting-edge art forms that we have long championed: tactical media, net.art, device art, code art, interactive installations and augmented experiences — are being legitimized, refined and civilized.   All of our avant-garde artistic eccentricities are fast becoming twenty-first century mainstream lifestyles. Our Share Festival jury for the year 2020 is the wisest and best-briefed that we have ever assembled, for it includes the doyenne of the Piedmontese art scene, the globally-famed art collector and cultural activist, Patrizia Sandretto Re Rebaudengo. She is ShareFestival’s favorite Knight of Arts and Letters. We are really looking forward to a close discussion of your artistic entries this year. Frankly, our festival has never seen such a halcyon situation.  We are the picture of smart-urban civility.
La vita é bella!

*******************************************

 

However… here, below the dividing-line…. what about all those other cities, here at the turn of the decade?    Crowds waves angry banner, subways are flaming, airports are besieged, lasers flare in the tear-gas clouds under the drones — urban mayhem smolders over every horizon!   Leaderless crowds cry out their need to take back a control that seems entirely illusory; polarized parliaments howl abuse and demand impeachments, blockades and barricades abound to stop overcrowded caravans where all the wheels have fallen off….  Tech unicorns fall flaming in disgrace, and even the ultra-rich weep and tremble in public venues; social lynch-mobs abound, while enlightened scientists flee the trolls; upheavals are met with ominous silence as the Internet’s plug is pulled over vast, stricken provinces.  The tenuous fabric of civilization is shredded as law enforcement agents randomly batter the passers-by, and frenzied outbursts of reckless passion and raw discontent shatter the one-way mirror of the status quo. Surveillance is redoubled as the surveilled can’t be bothered to behave; to “befriend” is an act of covert emnity, while to
“like” is passe’. A riot is not a revolution or a reform, it’s a burst of frenzy that concludes in melancholy astonishment. And yet: here we are.  Such is the social condition.  It could be anywhere, it could be anybody. 

What can we make of this? What’s to become of us?

 

Bruce Sterling, Share Festival Art Director
Jasmina Tesanovic, Share Prize Curator

 

The works nominated for the prize must comply with the theme. An International Jury will select 6 candidates for the award, who will be invited to take part in the exhibition, which will take place in Turin in May 2020. By the end of February 2020 the finalists will be announced.

 

OPEN REGISTRATIONS UNTIL 28TH JANUARY 2020 – 12.00 am

Deadline: 
28/January/2020

Entry Fee:

Contact & Links: 

Un_Real Desires Exhibition

Country:

City:

Eligibility:

For the upcoming Un_Real Desires group exhibition taking place October 23-27th 2019 at SomoS Art House in Berlin (coinciding with the Berlin Pornfilm Festival), the SomoS curatorial team is calling for submissions for performative projects, ephemeral installations, durational art pieces and other art forms.

Deadline: September 22nd, 2019, 18:00h
Application fee: None
Eligibility: international artists working in any medium

In times where the borders between the physical and the virtual are becoming increasingly blurred, the group show Un_Real explores the effects of the imbrication of technology, desire and erotica.

How to interpret the paradox of contemporary erotica moving towards desire without bodies? Filters, skins, fakes, the (self) representation of the eroticized body moves further and further away from reality. The Un_Real exhibition traces the implications. Does it matter, and do we care?

Topics and questions may include:

• The growing influence of technology on the way that erotica is consumed and produced.
• The disembodiment of the erotic.
• What are the psychological, ethical, aesthetic other effects?
• Does it matter if what you desire is real or not?
• And how “real” are your desires anyway, being maybe just as much a product of nurture as of nature?
• What happens to the portrayal of the quirky and in-between, if everything can be made to look perfect? And how do we consequently view our less than perfect selves?

Responses may be personal, theoretical, philosophical, societal; they may build on actual phenomena, or imagine transformations and build worlds of their own.

Both existing works as well as new works are eligible for participation.

Submissions to the exhibition should include detailed description of the artwork or project. We will look at any proposal with great interest and an open mind, but are especially eager to include installation based pieces, works that are durational, participative and/or interactive, for example, performances, and other works that take shape over time, works that are built in situ before or during the exhibition, works that create their own environment or that involve building an environment that is the backdrop to a performance.

Selected artists/performers will be invited to participate in an exhibition at SomoS Art House in Berlin that will take place from 22.–27.10.2019, coinciding with the 14th Pornfilm Festival Berlin.

Deadline: 
22/September/2019

Entry Fee:

Contact & Links: 

New Technological Art Award 2019 - call for entries

Country:

City:

Eligibility:

CALL FOR ENTRIES: NTAA 2019
Exhibition November 2 – 24, 2019

Entry period: November 1, 2018 – March 31, 2019

Zebrastraat
Zebrastraat 32/001
9000 Ghent
Belgium

More info on the exhibition and award rules can be found on www.ntaa.be.

Organisation: Liedts-Meesen Foundation

The professional jury is composed of:

The Liedts-Meesen Foundation, Jean-Marie Dallet (Artist, research professor at the Université Paris 8), Stef Van Bellingen (Consultant for Zebrastraat / Artistic leader VZW Warp), Paul Dujardin (Artistic Director Bozar), Nick Ervinck (artist, winner of the update_2 public award), Yves Bernard (Artistic Director iMal), Alain Thibault (Artistic Director Elektra, Montréal), Ralph Dum (Scientific officer and senior expert of the European Commission) and Karen Helmerson (Program Director for Electronic Media, Film & Visual Art at the New York State Council on the Arts (NYSCA)).

Zebrastraat

During the last few years, Zebrastraat Ghent has developed into a stimulating knowledge centre with a strong interest in art. Every two years we organize a biennial called update_, and the New Technological Art Award (NTAA) contest, which tries to fill in a gap in the mainstream art world, by paying attention to the technological developments that drive our global culture.

NTAA selects and presents creations in which the culture-forming role of technology occupies a central place. Low or high tech, intuitive or experimental, the creations always draw our attention to actual innovative trends. The exhibition of achievements of the selected winners is a compass that orients you to the relevant temporal and resilient use of technology in the artistic sector.

The mission of NTAA

NTAA’s mission is to expand the scope of contemporary artistic creations and traditional media with works using contemporary and new technologies in an original and intelligent way: treatment of sounds and light, use of new media, application of innovative evolutions in communications, telecommunications and broadcasting, centered on the world of information, communication, and computers and interaction. These descriptions are in no way restrictive and should be interpreted in the broadest way possible.

General guidelines for entry in the NTAA competition

The aim of the competition is to present works in accordance with NTAA's mission. The submitted work may have been exhibited previously, but the jury reserves the right to exclude creations that turn out to be not realizable within the limits of the practical possibilities of the Liedts-Meesen Foundation, keeping in mind that the works will be displayed during the exhibition. The basic equipment is available and at the disposal of the selected artists; specific and special equipment must be provided for and lent by the artists for the duration of the exhibition.

This international competition is open to all age groups and to all nationalities. Artists can present their candidacy for one art work less than two years old at the time of its submission, but which may already have been exhibited. English is the working language.

There is no artist fee. Costs regarding transport, accommodation and installation will be reimbursed by the organisation.

The 20 projects selected by the jury will be rendered public at the website in June 2019.

Prize

A cash award of 5,000 euro will be allocated to a work and to its creator. Moreover, the jury reserves the right to award an honorable mention to an artist. The Liedts-Meesen Foundation and the jury reserve the right to not award the prize and to transfer it to the next exhibition. There will also be a public prize and a prize of the European Commission. The winners will be announced at the final day of the exhibition.

Deadline: 
31/March/2019

Entry Fee:

Contact & Links: 

Pages

Subscribe to technology