September/October Opps & Calls

Virginia Center for the Creative Arts Deadline  January, May, September 15 Duration: From two weeks to two months. Discipline: Drawing & Painting, Literature, Media Art, Multi Media, Sculpture, Textile Description To provide serious artists with working facilities or conditions that they do not have on a normal, daily basis, such as adequate space, undisturbed time, and relief from day-to-day responsibilities. The VCCA sits on a 12-acre hillltop, known as Mt. San Angelo, in Amherst County. Technical Information Writers must bring their own computers and printers, dark room, reference library, three studio's with a piano. Accommodation Information Individual rooms in shared house, separate from studio, laundry facilities. Paid by host Accommodation, board, food, three meals a day are provided, studio. Paid by artist Individual traveling expenses, working material, personal needs Location It is located at Mt. San Angelo, a 450 acre estate in Amherst Country, Virginia, approximately 160 miles southwest of Washington, D.C. The nearest railway station is 17 miles away, the nearest airport 22 miles and the nearest busstop is 3 miles away. Application Criteria Admission to the Virginia Center is competitive and selective, based on a review of applicant's work. The basis for admission is professional achievement or promise of achievement. There is no discrimination due to race, creed, sex, age or physical condition. The charter of the VVCA does not admit craftspeople or writers of scholarly theses. Application address 154 San Angelo Drive Amherst, Virginia 24521 Telephone +1 804 9467236 Fax +1 804 9467239 E-mail  vcca@vcca.com www.vcca.com Vermont Studio Center Deadline  Full fellowship application deadlines: February 15, June 15, October 1. Duration: 4 - 12 weeks Discipline: Drawing & Painting, Literature, Media Art, Stone Carving, Woodcraft The center aims to build an ideal international creative community that supports serious artists and writers by providing them with the seclusion of distraction-free working time, the companionship of professional peers, and the option of the counsel of inspired mentors. Residents receive individual studios, private rooms and all meals, plus access to prominent Visiting Artists and Writers offering slide talks, readings and studio visits. MFA program available with Johnson State College. Technical Information Sculpture Shop, Print Shop, Darkrooms, reference library. Accommodation Information Separate from studio, individual houses. Laundry facilities Paid by host The full fee for a 4 week residency is $3,750. VSC Full Fellowships, open to all artists and writers, are awarded through a jury process three times a year on the basis of artistic merit and cover the full 4-week residency fee (including accommodation, private room and meals). VSC also offers a number of Special Fellowships with specific deadlines and eligibility criteria (Check the Special Fellowships section of the web site for more information on these opportunities). VSC also offers partial assistance in the form of Grants and Work Exchange Aid that reduces Residency fees. Applications for these awards are accepted at any time. Paid by artist Individual traveling expenses. Working material. Personal needs. Location Vermont Studio Center is located in a traditional Vermont village set in the heart of the Green Mountains on the banks of the Gihon River, northern Vermont. Application Criteria Check out Vermont Studio's Center website! Application address P.O. Box 613 Johnson, Vermont 05656 Telephone +1 802 6352727 Fax +1 802 6352730 E-mail  graphics@vermontstudiocenter.org www.vermontstudiocenter.org Kala Art Institute Deadline January 31, April 30, July 31, October 31 Duration: 6 months for fellowship recipients; indefinitely for regular artists-in-residence. Founded: 1974 Discipline: Drawing & Painting, Media Art Targetgroup: International Description To provide a diverse, international body of artists with the tools, techniques, and well-organized professional facilities necessary to create high-quality works of arts. Technical Information Computers Dark room Digital Video Editing Print making Accommodation Information Individual apartments Studio Paid by host Studio Paid by artist 1) $225 per month – 1, 2, or 3 Month Contract - Part-Time: 3 days per week studio access, donation of one sample of work done at Kala. 2) $365 per month – 1 Month Contract - Full-Time: 7 days per week studio access, donation of one sample of work done at Kala. 3) $150 per month - 6 Month Contract - Part-Time: 3 days per week studio access, available only to artists-in-residence who have completed 3 months of residency, donation of one print to Kala's Archive per 6 month period; maximum two prints per year Location Near the University of California at Berkeley. Application Criteria Artists working in various printmaking techniques, photo-processes, book arts and digital media including sound/video production can apply to become an Artist-in-Residence at Kala Art Institute. Application address 1060 Heinz Avenue Berkeley, CA 94710 USA Telephone +1 510 5492977 Fax +1 510 5406914 E-mail  kala@kala.org www.kala.org International Turning Exchange Deadline October 1st Duration: 8 weeks Founded: 1995 Discipline: Photography, Woodcraft Targetgroup: International Description Every year, several artists from around the world come together in Philadelphia, Pennsylvania. The group includes artists skilled at lathe work, turning wood into objects of beauty. Other participants include scholars and a photojournalist to interpret and document the event. The event culminates in an exhibit of the summer's work in the Wood Turning Center's gallery in Philadelphia. Paid by host $400 per week, roundtrip transportation to the residency location, housing, plus an allowance for materials. Application address Wood Turning Center, 501 Vine Street Philadelphia, Pennsylvania 19106 USA E-mail  info@woodturningcenter.org www.woodturningcenter.org/itemenu.html Indiana University School of Fine Arts Deadline October 1 Duration: 8 weeks Discipline: Ceramics, Drawing & Painting, Graphic Design, Media Art, Photography, Printmaking, Sculpture, Textile Targetgroup: International Description Co-sponsored by the Henry Radford Hope School of Fine arts and the Collins Living-Learning Center, Indiana University's Program for International Visiting Artist-in-Residence (PIVA) hosts one emerging international artist/scholar during the second eight-week session of each fall and spring semester. Artists/Scholars live among the students and teach a studio practice course for Fine Arts and a theory course for the Collins Living-Learning Center. The Studio course meets two days a week for 2 hours and 45 minutes each day. This is a hands-on course teaching techniques and related concepts in any media you are expert in. The theory course meets two days a week for 75 minutes each day having an international scope which focuses on contemporary and cultural criticism. Artists/Scholars will also give an artist's talk and are invited to exhibit work in progress. Technical Information State of the art workshops, labs and equipment Studio Information 350sq ft studio provided for artist-in-residence Accommodation Information Artist/Scholar will be provided a one room guest room in Collins Living-Learning Center with attached bathroom, AC, mini fridge, microwave, coffeemaker, TV with DVD player, Macintosh computer and printer. Linens and housekeeping are provided as well as a $300 guest meal card for on-site dining hall. To learn more visit the website at: www.indiana.edu/~llc/ Paid by host $6850 stipend plus room and $300 meal card Paid by artist travel associated fees, insurance and incidentals Location Nestled in the rolling hills of Southern Indiana in the Midwestern portion of the United States. 1 hour from the state capital of Indianapolis, and 4 hours from the metropolitan city of Chicago. Indiana University Bloomington is the flagship campus squeezing a city's worth of culture into a college town, bringing together a wealth of cultural resources and the perspectives and talents of students from all 50 states and more than 125 countries. IU Bloomington's world-class performance spaces and museums, and outstanding programs in fine arts represent just a few of the opportunities for you to experience diverse ideas and forms of expression - and to create your own. Application Criteria The ideal candidate would have university level teaching experience, proficiency in English and be a self-directed person that enjoys working with students of all skill levels. Areas of concentration are selected on a rotating basis. Application at: www.indiana.edu/~finaweb/test/cms/fina/wp-content/uploads/2009/10/pivaapp.pdf Application address 1201 E 7th Street Bloomington, IN USA Telephone 812-855-7766 E-mail  faoffice@indiana.edu www.fa.indiana.edu www.indiana.edu/~llc/academics/piva.shtml Hedgebrook Writers Retreat Deadline September 23 Duration: Two to six weeks. Founded: 1988 Discipline: Literature Targetgroup: International Description Hedgebrook exists to strengthen the voices of women writers of all ages and from diverse backgrounds by providing a place where they can find connections with one another and with the earth, and the words to build community in the world. Land on Whidbey & Hedgebrook Writers Retreat cottage Accommodation Information Individual houses, six fully furnished cottages, including efficiency kitchen, bathroom, desk, and loft. Paid by host Accommodation, board, food, and tudio Paid by artist Individual traveling expenses, applicants may apply for a scholarship. Location Located on thirty-three acres of farm and woodlands on Whidbey Island in Washington State. Application Criteria Hedgebrook is a retreat for women writers, of all ages and from all cultural backgrounds, regardless of publication history. Application address 2197 East Millman Road Langley, WA 98260 USA Telephone +1 360 3214786 Fax +1 360 3212171 E-mail  info@hedgebrook.org www.hedgebrook.org Hambidge Center for Creative Arts & Sciences Deadline January 15th, April 15th, September 15th Duration: two up to eight weeks Discipline: Architecture, Ceramics, Curating/Research, Dance, Drawing & Painting, Film, Graphic Design, Literature, Media Art, Multi Media, Music, Photography, Printmaking, Sculpture, Textile, Woodcraft Description The Hambidge Residency Program provides setting, solitude and time for creative individuals working in a wide variety of creative disciplines. Fellowships are offered for two to eight week residencies, year round, except for the month of January. Residencies at the Hambidge Center for Creative Arts & Sciences Studio Information One of the aspects of Hambidge that Fellows repeatedly praise is the fact that each resident is housed in his/her own, stand-alone, studio which contains a work area as well as sleeping area, kitchen and bath. The structures themselves are diverse and unique. Among them are three studios which are our primary visual arts studios, one of which contains a rebuilt, 1925 Steinway Grand Piano and is used for music Fellows as well. The other studios are primarily for disciplines which require less space. Each has its own charm and character and some contain fireplaces. We also have a state of the art Pottery Studio and an Anagama Wood Fired Kiln which are available for the Fellows use. The accommodations are intentionally simple and the kitchens outfitted for basic cooking. Linens, quilts, comforters and other necessary items are provided. All studios are heated. At this time, computer access is limited to the common building, Lucinda's Rock House, where we have wireless access as well as a computer station. Paid by host The artists pays 150 US Dollars a week. There are some fellowships available. See website for eligibility. Location The Hambidge Center is located in Rabun Gap just outside the town of Dillard Georgia, approximately 1.5 to 2 hours from Atlanta, Georgia. Application address 105 Hambidge Court Rabun Gap, GA 30568 Telephone +1 706 746 5718 Telephone +1 706.746.1247 (Residency Program) Fax +1 706 746 9933 E-mail  center@hambidge.org www.hambidge.org Hadassah-Brandeis Institute Deadline  October 1 Brandeis University, MS 079, 515 South Street Waltham MA 02454 USA Duration: 3-4 weeks in March Targetgroup: International Description The Hadassah-Brandeis Institute, a research center at Brandeis University, develops fresh ways of thinking about Jews and gender worldwide by producing and promoting scholarly research and artistic projects. The residency programme provides artists the opportunity to be in residence at Brandeis University while working on a significant artistic project in the field of Jewish women's and gender studies, and to produce an exhibit for the Kniznick Gallery at the Women's Studies Research Center (WSRC) at Brandeis University. The residency will be 3 - 4 weeks in length, and will take place in March. The exhibit will immediately follow and be on view for a minimum of 8 weeks. Preference will be given to applicants who create a site specific exhibit. Paid by host Stipend up to $3000, studio space, materials subsidy of $250. Paid by artist Food, travel, housing, material. Application Criteria The Hadassah-Brandeis Institute looks for exhibitions that: are visually and artistically impressive and original; are related to fresh ways of thinking about Jews and gender; are international in nature; ask important questions and provoke dialogue; are related to research being produced and promoted by the HBI; provide a context for education; are appropriate in scale for the Kniznick Gallery space; include new work produced during the residency, or prior work presented in a fresh way, informed by the residency Application address Brandeis University, MS 079, 515 South Street Waltham MA 02454 USA Telephone 781-736-8115 E-mail  dolins@brandeis.edu www.brandeis.edu/hbi The Griffis Art Center Deadline October 1, April 1 Duration: 5 months Founded: 1989 Discipline: Visual Arts Targetgroup: International Description The Griffis Art Center wants to cultivate and encourage contemporary fine art and artists and create an opportunity for international exchange among artists and the community through arts. The Artist-in-Residence Program is for artists involved in the creation of visual arts. It is neither a school nor an artist's colony. It does, however, offer an opportunity for professional artists to explore their full creative potential. An artist's work may be contemporary or traditional, and may include most types of medium. However, certain casting techniques, which take too long to produce finished products, may have to be eliminated. Printmaking, photography and casting equipment are not available on the premises. Accommodation Information The apartment is fully furnished including dishes, pots and pans, linens, towels and basic appliances. The apartments are spacious and comfortable. Paid by artist Working material. Application address 147 State Street NEW LONDON CONNECTICUT 06320 USA Telephone +1 860 447 3431 E-mail  director@GriffisArtCenter.com www.griffisartcenter.com Denali National Park AIR Program Deadline  October 31 Duration: 10 days from June through August Discipline: Drawing & Painting, Film, Media Art, Photography, Sculpture Targetgroup: International, National Description Numerous National Parks in America have begun Artist-in-Residence programs since 1984. With the establishment of this program, Denali National Park joins the list of those parks which seek to recognize and support the role played by artists in preservation and interpretation of the country's natural wonders. Denali National Park historic East Fork Cabin for ten day residency periods from June through August. Accommodation Information A rustic but well-equipped base in which to work and from which to explore, the 14' x 16' cabin has an outhouse, propane heater, range, oven, refrigerator, bunk beds, and a full complement of cooking equipment. There is no electricity or running water, but water jugs may be replenished at Park Ranger stations and visitors' facilities, and showers are available at the Toklat Ranger Station 12 miles from the East Fork cabin. Artists chosen must be comfortable in a wilderness setting. Paid by host No stipend is provided. Location The East Fork Cabin, also known as the Murie Cabin, is located 43 miles into the park, just off the park road, in a dramatic setting on the East Fork of the Toklat River between Sable Pass and Polychrome Pass. Application Criteria A panel of artists and National Park Service personnel, appointed by the Superintendent of Denali National Park, will review applications from professional artists on an annual basis. Selection will be made on the basis of required entry materials, vision, new and innovative ways of responding to the park, and recognized accomplishment as demonstrated in those materials. Artists-in-residence agree to donate to the park an original piece of work representative of their stay. Application address P.O. Box 9 Denali National Park and Preserve, Alaska 99755 E-mailE-mail  Carol_harding@nps.gov  denali_info@nps.gov www.alaskageographic.org/category/17/arts Colorado Art Ranch Deadline next deadline is October 15 Duration: 1 month Founded: Discipline: Drawing & Painting, Literature, Multi Media, Photography, Sculpture Targetgroup: International Description Colorado Art Ranch serves as a retreat for writers and visual artists. Artists and writers who attend Colorado Art Ranch have: a place to immerse themselves in their work, time to experiment, think and develop their work, an opportunity to collaborate with artists, writers, and the community. Accommodation Information Each resident gets their own room, but may share a bath and cooking facilities. Paid by host Residents receive free admission to the Artposium and living and studio space for one month. Paid by artist Residents are responsible for travel, food, and an application fee of $30, shipping or removing their work at the end of the residency. Location Colorado Art Ranch nurtures the creative spirit in beautiful, secluded, and supportive environments throughout Colorado. Residencies are located in donated or rented space in selected towns of rural Colorado. The landscapes of Colorado--open meadows, rock outcroppings, and mountain views--inspire artists at a visceral level. The simplicity of the setting is a dramatic foil for the residents' struggle to express complex ideas. Application address 6878 Taft Court Arvada, Colorado 80004 USA E-mail  info@coloradoartranch.org www.coloradoartranch.org The Centre d'Art la Rectoria actively supports the contemporary plastic arts and encourages both study and research in this field. It promotes exchanges with other art centers, but also with universities and with individual artists all over the world. The project's theme for the current open call is based on the purposes of the Art Centre: art, nature, the environment, alternative mobility and historic memory. Deadline September 15 Technical Information The centre provides residential facilities for up to 14 artists and fully equipped workshops for various specialities. It also has large outdoor areas that permit work in the open air, as well engaging in numerous types of installations. Studio Information Workshop studios for sculpture, painting, ceramics, chalcographical engraving and serigraphy. Paid by host Accommodation, work space Location Located in a small town near Barcelona (40 km), within the boundaries of the Montseny Wildlife Prk and 12 km away from the Mediterranean sea. Connected by train and bus with Barcelona. Application Criteria For the application details please check: www.centreartrectoria.org/index.php?id=3 Application address Avda. Quatre Camins, S/N 08459 San Pere de Vilamajor (BCN) Spain Telephone +34 93 84500 059 Fax +34 93 8450232 E-mail  centreartrectoria@gmail.com www.centreartrectoria.org Objectifs Centre for Photography and Filmmaking Deadline  October 31 (1st cycle) and January 31 (2nd cycle) Duration: 4 weeks Discipline: Film, Photography Targetgroup: International Description The Objectifs Artist-in-Residence programme is open to all artists who incorporate photography and film in their work. The aim is to provide visual artists, who want to develop their craft, with a supportive platform, conducive for the creation and development of new personal work. Being in a new environment allows artists to interact with the local arts community and exposes artists to a diversity of cultures and ideas. During the residency period, the artist is expected to: - Share work-in-progress through discussions, screenings, exhibitions, keeping Objectifs updated on project progress; - Conduct up to 6 hours of workshops or seminars per week, tailored to the artist's area of specialty; - Showcase their completed project at the end of the residency period, e.g. in the form of an exhibition or screening. There are no restrictions on nationalities, but residents are responsible for applying for a valid tourist or social visitor's pass. Technical Information Artists are welcome to use the facilities at Objectifs, which includes a gallery space. The following equipment is also available: iMac G5 with Final Cut Pro HD and Adobe Photoshop CS B&W Darkroom with chemicals 3CCD Panasonic DVX camera Large format printer (printing offered at discounted rates) Studio Information dedicate studio space at Objectifs Accommodation Information shared accommodation separate from studio Paid by host Travel subsidy of up to S$1500 to contribute to return airfare (reimbursable with receipt); Stipend of S$1000 per month for the residency period; Material fee of up to S$1,000 for the residency project (reimbursable with receipts); Basic accommodation for the residency period. Paid by artist Other expenses Location Objectifs is located in the Arab Street/Kampong Glam area, a melting pot of different cultures. It is 5 min from the city. Application Criteria Artists are selected based on their experience, portfolio, submitted project proposal and recommendations. Applicants must indicate the residency period based on the deadlines. Please download application form at www.objectifs.com.sg. Application address 56A Arab Street 199753 Singapore Singapore Telephone +65 6293 9782 E-mail  info@objectifs.com.sg www.objectifs.com.sg Flaggfabrikken Deadline  October 1 Duration: 3 months (March - May or September - November) Founded: 2006 Discipline: Photography, Printmaking Targetgroup: International Description Flaggfabrikken centre for photography and visual arts is offering an opportunity for artists that work with camera based art to undertake a three months residency in Bergen, Norway. laggfabrikken is an artist collective based in Bergen. In addition to having our own studios and artist practice at Flaggfabrikken, we work in different ways to promote camera based art in Bergen. Paid by host Flaggfabrikken will with the generous financial support from the municipality of Bergen offer the artist: studio, accommodation, travel expenses paid and give a small grant towards covering other living expenses during the artist’s stay. Location Bergen is the second largest city in Norway. It is located on the south-western coast of Norway, between a group of mountains known collectively as de syv fjell ("the seven mountains"). Bergen is also known as the gateway to the fjords. Application Criteria Applications must include up to 20 (preferably digital, 1024x768 px, 72 dpi) images of previous works, a project proposal for the residency period, an artist statement of no more than 500 words and an updated cv Application address Møllendalsveien 17 5009 Bergen Norway Telephone +47 45421116 E-mail  post@flaggfabrikken.net www.flaggfabrikken.net GlogauAIR Deadline July 25 (residency beginning in December), October 25 (residency beginning in March 2011), January 25 (residency beginning in June), April 25 (residency beginning in September). Duration: 3 to 6 months Discipline: Dance, Drawing & Painting, Film, Literature, Media Art, Multi Media, Performing Arts, Photography, Sculpture Targetgroup: International Description Glogauer is an international meeting point for the visual arts. Its aim is to support and encourage contemporary artistic creation, research and debate. One of Glogauer's main activities is its Artist in Residence Programme. The purpose of this programme is to offer a platform to promote the exchange of artistic discourses from artists with different artistic backgrounds and from different geographical origins. The programme is designed to encourage the exchange of ideas in order to broaden creative horizons and to offer the possibility of internationalising the individual projects of the resident artists. By encouraging this cultural diversity, they also hope to be able to update the debate between the artists themselves and between other professionals from the art world and the general public. Regular exhibitions in form of Open Studios are organized every three months, printing a small brochure and postcard. Once a year they collaborate with other institutions in the city in form of Festival or bigger Exhibition. Paid by artist 450 euro/month - when sleeping in the Residence; 400 euro/month - not sleeping in the Residence Location Glogauer is very close to the south-eastern zone of the Landwehrkanal, which crosses the entire Kreuzberg area. Ever since the founding of Greater Berlin, Kreuzberg has been characterised as being a neighbourhood with strong, elegant buildings. An area of industrial zones housing small factories, publishers and printers standing side by side with large residential buildings Application address Glogauerstrasse 16 10999 Berlin Germany Telephone +49 30 6122275 E-mail  info@glogauair.net www.glogauair.net Akademie Schloss Solitude Deadline Application round between 1 July and 31 October. Discipline: Curating/Research, Drawing & Painting, Film, Literature, Media Art, Multi Media, Photography Targetgroup: International, National Description The Academy constitutes a meeting point for artists from the world's various continents and cultures, as well as for representatives of different artistic fields and positions. They have the possibility of getting to know one anothers' work and exchanging ideals and plans. The most obvious next step is the realisation of art project either jointly or individually. Akademie Schloss Solitude is located in the two officer and cavalier buildings on the grounds of Schloss (castle) Solitude. Studio Information The studio space is separate from the living accomodation. Paid by host Accommodation, 1000 euro per month Location The Academy Schloss Solitude is located on the grounds of a baroque castle in the outskirts of Stuttgart with access to public transport. It is housed in the two Office and Kavalier buildings of Solitude, comprising a total of 3,500 m2. Like the late-Baroque summer residence, these two outer buildings were built by Duke Carl Eugen in 1763. Together the two buildings contain 45 apartments, including 14 with studios for the visual branches, 13 with adjoining music studios and 18 small two room apartments. Application Criteria Maximum age 35 year. Application address Solitude 3 70197 Stuttgart Germany Telephone +49 711 99619 472 Telephone +49 711 99 61 90 Fax +49 711 99619 50 E-mail  mr@akademie-solitude.de www.akademie-solitude.de Artists Residency Sumu/Gallery Titanik Deadline  September 30th 2010 (postmark). Session dates: the 2nd half of the year 2011. Duration: From one to three months. Discipline: Media Art, Multi Media Targetgroup: International Arte Association's Artists' Residency SUMU offers one to three-month residencies in 2011 to Nordic and Baltic media artists, working in the intersection of new technologies and contemporary art. The stipend covers accommodation, a studio, daily allowance, material money and travelling costs within reasonable limits. Artists have a possibility of exhibiting their work either in Sumu's studio space, in Titanik or in another public space in Turku or on Sumu's website. Artists are provided with a studio. Single or double room with a private bathroom and shared kitchen, housed in the guesthouse Domus Aboensis, a short walking distance from the gallery. Paid by host Exhibition space, accommodation, a studio, daily allowance, material money and travelling costs within reasonable limits. Paid by artist Living expenses including food. Application Criteria Open to artists working in the fields of Media Art, Multi Media, Sound Art, New technologies. Individual submission, including: -short, clear and realistic project plan (max one page) -short artist statement (max one page) -CV (max one page) plus artist's homepage -DVD / CD including a maximum of 10 minutes worth of samples in PC format -samples of recent work as print-outs (3 - 5 pieces) Application address Itaïnen Rantakatu 8 20700 Turku Finland E-mailE-mail  sumu@arte.fi  www.suimuair.wordpress.com www.arte.fi El Gouna Writers' Residency Deadline September 30 Duration: 1 month Discipline: Literature Targetgroup: International Description El Gouna Writers' Residency was launched in February, 2010. El Gouna would host three sessions a year during the months of February, May and June. The length of each session is one month. During each session four to six writers will be inspired by El Gouna's picturesque setting and will be given an opportunity to interact with writers from different walks of life. During their stay, the writers will also participate in a reading day at El Gouna's library, a branch of the renowned Bibliotheca Alexandrina, and will be asked to provide a report stating the development of their literary project. Once the book has been completed, writers will be asked to leave one or more copies in the library for others to enjoy. Studio Information All Rooms are designed to act as both a bedroom and a private writing space that is equipped with a desk and wireless internet connection. Accommodation Information Full-board accommodation in a single, tailor-furnished room at the Steigenberger Golf Resort El Gouna. Breakfast and dinner will be served in a communal dinning room, to encourage additional social and intellectual exchange. Paid by host Accommodation, board. Paid by artist Writers will need to pay their own airfare and transfer. Location El Gouna is a town on the Red Sea, acknowledged for preserving local traditions and culture throughout its 20-year existence. This can be seen through its multicultural living community, international school, international university campus, church, mosque, museum and all other locations where residents can encounter traditional Egyptian architecture, and customs. Application Criteria The El Gouna Writer's Residency is open to established writers and mainly focuses on their professional experience and quality of past work, as well as current projects and the potential for a productive stay in the resort. Regardless of the country of origin, the applicant must be fluent in speaking either English or French. Struts Gallery Duration: 1 month Founded: Discipline: Film, Multi Media Targetgroup: National Description Struts is a site for the engagement of contemporary, artist-initiated activities such as exhibitions, performances, demonstrations, workshops, symposia, residencies, screenings and so on. Technical Information The Faucet Media Arts Center has the following technical resources: Sony mini-DV video camera, G4 with Final Cut Pro, audio mixing board, VHS VCR, three video monitors, Super 8 cameras and Super 8 editing equipment. Paid by host The artist is paid an artist fee and provided with a per diem and accommodations in Sackville; travel costs are covered. Location The Struts Gallery is situated in the town of Sackville, New Brunswick, on the Tantramar Marsh, 45 km from the city of Moncton Application address Lorne Street 7 Sackville Canada Telephone 506 536 1211 Fax 506 536 4565 E-mail  info@strutsgallery.ca strutsgallery.ca Oboro Deadline October 1 (Research and Production residencies Program); April 1 (New Media Production Creation Grant for Young Artists) Duration: There is no pre-determined duration for residencies and production projects yet generally vary from two to four weeks in lenght. Founded: 1995 Discipline: Drawing & Painting, Media Art, Multi Media, Photography, Sculpture Targetgroup: International Description OBORO welcomes original projects that promote critical thinking and artistic practices. They accept proposals from artists, artist collectives, and independent curators who are looking to present exhibits, events and conferences as well as to produce publications or do a residency. OBORO also hosts media art related residencies throught its New Media Lab. Active in Montreal since 1995, the new media lab is a stimulating and creative environment in which to promote innovative new media practice. Technical Information OBORO’s research and production laboratory in media arts and new technologies offers a vast array of equipment and professional resources. A 1000-square-foot Production Studio with a 180-degree limbo, movable black curtains that can encircle the entire space and a professional lighting system is available for various types of shooting and other activities. Several computer work stations, as well as a variety of audiovisual and technological input-output devices and equipment are also available for digital video shooting and editing, audio recording and post-production, as well as for 2D, 3D, multimedia, interactive, QTVR, web and Internet production. Paid by host For its residency and production programs, OBORO pays artist's rights and fees in accordance with standards set by representative organizations and bodies responsible for collecting royalties. Paid by artist The costs for using special technical studio spaces can rise up to 1300 $ a week. Application address 4001, Rue Berri, local 301 Montréal (Québec) Canada Telephone +1 514 8443250 Fax +1 514 8470330 E-mail  oboro@oboro.net www.oboro.net Artists Unlimited Deadline April 1st, October 1st Duration: 3 months Discipline: Visual Arts Targetgroup: International Description Artists Unlimited is an artists association and art house that combines living and working under one roof since 1985. The project runs a gallery and a guest studio and has until now financed three-month-grants for 70 guest artists from all over the world. They live in the Artists Unlimited house - a former paper factory building - and exhibit their creations in the projects gallery. Studio Information The rooms for the guest artists are made up of a studio (40 m2) and an appartment (32 m2) with kitchen, washing machine and telephone. Paid by host Accommodation, studio, grant of 550 Euro per month. Paid by artist Travelling expenses. Application Criteria Application is by a presentation of a portfolio including 10 samples of work, Name, Age, Education, Exhibitions and a short description of what you would like to work on and why you want a residency at Artists Unlimited. Application address August-Bebel-Str. 94 33602 Bielefeld Germany E-mail  buero@artistsunlimited.de www.artists-unlimited.de Ucross Foundation Residency Program Deadline March 1 for fall session, October 1 for spring session. Application fee: $40 Duration: From 2 to 8 weeks. Discipline: Architecture, Dance, Drawing & Painting, Film, Literature, Media Art, Music, Sculpture, Theatre Targetgroup: International Description The Ucross Foundation Residency Program offers the gift of time and space to competitively selected individuals working in all artistic disciplines. The Foundation strives to provide a respectful, comfortable and productive environment, freeing artists from the pressures and distractions of daily life. The Ucross Foundation provides living accommodations, individual work space, and uninterrupted time to approximately 85 individuals each year. At any one time, there are up to nine individuals in residence, a mix of visual artists, writers and composers. In most cases, studios are separate from living quarters. Technical Information Facilities include 4 visual art studios, one with an Elephant etching press, 4 writer's studios, 2 composer's studios, each with an electronic keyboard and baby grand piano. Accommodation Information Individual rooms in shared house, fully furnished and equipped. Check the website for details. Paid by host Accommodation, board, studio space Location Located on a 20,000 acre working cattle ranch in the foothills of Wyoming's Bighorn Mountains. Application Criteria The quality of an applicant's work is given primary consideration in the review process. The quality of an applicant's work is given primary consideration in the review process; individuals from all stages of their professional careers are invited to apply. Application address 30 Big Red Lane Clearmont, Wyoming 82835 Telephone +1 307 737 2291 Fax +1 307 737 2322 E-mail  info@ucross.org www.ucrossfoundation.org UNESCO-Aschberg Bursaries for Artists Programme The UNESCO-Aschberg Bursaries for Artists promote the mobility of young artists in order to enrich their personal perspectives, to enable them to engage in an intercultural dialogue and expose them to cultural diversity. Check the details and requirements of the residency of choice and send your complete application files directly to the institution you are applying at. There are many different conditions and deadlines: so check out yourself! The Programme offers residencies to young artists (between 25 and 35 years old) worldwide in the following partner institutions: Creative Writing CAMAC, France Sanskriti Foundation, India Music Instituto Sacatar, Brazil Musique Multi-Montréal, Canada Civitella Ranieri Center, Italy Espace Sobo Bade, Toubab Dialao, Senegal Virginia Center for the Creative Arts , USA Visual Arts Bundanon Trust, Australia Instituto Sacatar, Brazil Centro Colombo Americano, Colombia CAMAC, France Sanskriti Foundation, India Art Studio Changdong & Goyang, Republic of Korea UNIDEE, Italy 18th Street Arts Center, USA Djerassi Resident Artists Program, USA MASS MoCA / Cabinet       Open call for a two-part Exhibition   An Exchange with Sol LeWitt Deadline  10/15/10 The story of Sol LeWitt's exchanges with other artists is by now widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life. Eva Hesse, Robert Mangold, Hanna Darboven, and Robert Ryman are just a few of LeWitt's celebrated contemporaries with whom the artist exchanged works. Such exchanges were not limited to well-known artists, however: LeWitt consistently traded works with admirers whom he did not know but who had nevertheless sent their work to him, as well as amateur artists with whom he interacted in his daily life. LeWitt's exchanges—he responded to every work he received by sending back one of his own—fostered an ongoing form of artistic communion and, in some cases, a source of support and patronage. The Sol LeWitt Private Collection retains all of the works he received, as well as a record of what he offered in return. For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world's dominant economic model, LeWitt's exchanges with strangers have the same qualities of generosity, and risk, that characterized his work in general. This kind of exchange was designed to stage an encounter between two minds, outside the familiar confines of friendship. If we consider the process of exchange as another of Sol LeWitt's instructional pieces, then the rational (or irrational) thing to do is to continue to exchange work and ideas, if only symbolically, with him. /—This is a call to those who share an affinity with Sol LeWitt's legacy as a conceptual artist, to those who knew him and those who did not—to anyone who has ever wondered, "What would Sol LeWitt like?"/ *Guidelines* Your gift to Sol LeWitt can take the form of an image, an object, a piece of music, or a film. Books, ephemera, and other non-perishable items (e.g. wine) are also welcome. Other ideas may be discussed with the curator. 2D contributions should be no larger than 8.5 x 11 inches; 3D contributions should be no larger than 12 x 12 x 12 inches. All contributions will be exhibited at either Cabinet or MASS MoCA. The curator will notify you of the location of your contribution by 1 December 2010. Contributions can be dropped off, mailed, emailed, or faxed between September 15th and October 15th to the mail address below. A publication documenting the contributions will accompany the shows and will be presented at the conclusion of the project to all participants. Please note that we cannot return your contribution. You can, however, pick it up at the end of the exhibition if prior arrangements have been made. Kontakt: An Exchange with Sol LeWitt c/o Cabinet 300 Nevins Street NY 11217 Brooklyn USA fax: + 1 718 222-3700 exchangelewitt@gmail.com www.cabinetmagazine.org Vir podatka:  uporabnik / user FLACC   Workplace for visual artist www.flacc.info Deadline: Sept 1 FLACC is a workplace for visual artists and creates the conceptual, organisational and technical conditions for realising unique artist projects. E very year, FLACC selects ten artists to set up a new project. In each annual selection, FLACC aims to strike a balance between national and international artists, between beginners and artists with experience, between autonomous art and/or research projects and artists that deal in more concrete terms with the historical, geographical or social context of the workplace. FLACC has metal and woodworking workshops, a digital studio, and a foundry with a furnace and kilns for ceramics, bronze and glass applications, and an extensive workspace. The staff is knowledgeable about the production possibilities of nearby workplaces and collaborates with those workplaces and with schools and companies to give the artists the best possible support and assistance. The call is open for all visual artists. Due to the diversity of our workshops, the application is open for projects in various media and disciplines. Projects with a notice of the specific geographical, cultural, social or historical situation of FLACC (or Genk/Belgium), challenging the notion of a 'workplace' or with the specific technical possibilities of FLACC are preferable. The work period is three-month full time in 2011 or around 90 days, divided in several smaller work periods. FLACC offers an accommodation, a workplace, covered travel expenses, a per diem as well as a small production budget. Application procedure Please use our application form for your application. The application should include a well-defined project proposal, a thoroughly calculated budget, a preferable time frame and your résumé. FLACC Luuk Nouwen and Sarah Indeherberge André Dumontlaan 2 B-3600 Genk Belgium tel: 32 (0)89 84 52 23 fax: 32 (0)89 84 52 24 application@flacc.info www.flacc.info Consejo Superior de Deportes + Idensitat            call for interdisciplinary projects Deadline: 10/15/10 promoting the relationship between sport and the social, cultural and creative areas www.idensitat.net/index.php The Consejo Superior de Deportes [CSD] (Sports Council) in collaboration with Idensitat [ID #6] announces a call for interdisciplinary projects promoting the relationship between sport and the social, cultural and creative areas. We are witnessing the development of what might be considered as a "field" of social commitment in sports that did not exist until just a few years ago. This commitment takes on, as a main feature, topics of social exclusion as well as the integration of immigrant populations. The increasing prominence of activities and sports projects directed at these sectors leads us to research experiences in what we might call " good practices " to build an archive as a resource for learning, debating, and to build relationships among sport, social interventions, and creative practices (art, design, architecture, etc.). We believe that sport interacting with these fields can support processes of social cohesion, especially when it helps to create places, or to strengthen already existing venues, where peer groups can meet and communicate. In this way, sport can become an interesting source of social capital and an element for the creation of different social networks (contacts, friends, friendship, prestige, etc.). Within creative practices, sport is often treated as circumstantial or thematic, but some examine certain social dynamics as a basis for work regarding relationships and shared creativity. Sport enhances these kinds of relationships and connections. Sports activities usually facilitate contact and relationships between individuals and groups of different backgrounds without the protocols demanded in other types of activities. Bringing both aspects together, we believe, can help develop projects to stimulate social creativity and an exchange of values particular to every field of action in certain local contexts. The aim of this call for projects is to identify existing work, to generate an archive of " good practices ", disseminate them, and to support the creation of new experiences which connect sport to other disciplines. The call is aimed at the wide range of organizers, creators and cultural agents who operate throughout Spain. Types of Projects at which this call is aimed 1-Projects about physical activity and sports* promoted by organizations, associations, sports clubs, local councils, regional councils, autonomic governments mainly concerned with social inclusion as well as social intervention through sport in disadvantaged zones. 2-Creative projects* proceeding from different disciplines (artists, architects, designers, etc.) that organize or promote projects based on sporting subjects and with special orientation towards social questions. 3-Hybrid projects* arising from the relationship between creators and organizations, sports clubs, social educators, etc.; proposing collaborative work and concerning subjects of inclusion or social intervention through this relationship between creativity and sport. Proposals can be submitted for the following awards: 1.Project bank Call for projects in progress or already finished. The projects selected will be part of an archive or project bank with the aim to disseminate them, and make them accessible. All selected projects will receive an honorable mention by the Consejo Superior de Deportes and Idensitat. In addition three projects selected for their contribution of distinctive and innovating features will be awarded with 1.000 Euros. 2- Project laboratory Call for unpublished projects in which sport is the main thread, or an important part in its methodology of intervention. These projects must provide answers to problems related to social inclusion in different urban contexts, raising questions, detecting conflicts, proposing strategies of negotiation or of participation through sport. Projects that can be realized in the medium-short term and sharing production through workshops, preferably in collaboration with local organizations. All selected projects will receive an honorable mention from the Consejo Superior de Deporte and some will be selected to be awarded a maximum of 8.000 Euros each toward their production in 2011. Proposals for both awards can refer to any Spanish city. Proposals submission Proposals must be sent in digital format to the e-mail address below, specifying the category of application: Project bank or Project laboratory. Project bank: requirements - Written document setting out the basic outline of the project and its aims. (5.000 characters máx.) - Images and texts on the project and references to the context in which was located. (5.000 characters maximum and 10 images.) - Curriculum of the members of the project specifying a representative in the case of a collective. - Contact details (name, telephone, e-mail and postal direction). Project laboratory: requirements - written document setting out the basic outline of the project. (5.000 characters máx.) - A maximum of 10 images to help illustrate the project's content. - Curriculum of the members of the project specifying a representative in the case of a collective. - Contact details (name, telephone, e-mail and postal direction).  IDENSITAT Pl. Gran, 2. E- 08280 Calaf Spain idensitat@idensitat.net www.idensitat.net apexart Franchising - Resolving another boundary between art and business Deadline: THROUGH OCTOBER 1, 2010 Based on the idea of creating its own franchise, apexart has held two worldwide open calls for 400-word proposals asking participants why the franchise should come to their town and provide all of the support necessary to produce an exhibition. As the art world adopts strategies from the world of business, cultural organizations have set up franchises around the globe. For the second year, apexart is joining this trend and setting up its own franchise in a new city. The Franchise competition is an opportunity for anyone from anywhere to create their own temporary apexart. For a four-week exhibition, the winner will be the director, curator and/or staff of your own apexart franchise with an $8,000 exhibition budget, a modest salary, and almost complete control. apexart provides the funding, along with the necessary guidance to make the curated exhibition happen. This includes an apexart brochure in an edition of 10,000 and its distribution around the world to more than 108 countries and a visit or two from us. The winning curator will also write an essay about the show. The Franchise is an opportunity to help bring an idea to fruition in a new place and to give someone an interesting opportunity. The Franchise was conceived to explore a relationship between art and commerce and to enable an exhibition based on meritocratic consensus. To further extend the public interactive nature of this idea, we ask a large number of individuals to take part on a jury to score submissions from countries around the world. We want your help! In order to make the Franchise as fair as possible, we invite up to 300 jurors to be responsible for a part of the process, reading about 25 proposals each. To participate as a judge, send us your name, location, and a short statement about why you are interested in getting involved by September 15.

---

Sojourn Theater

When I saw Michael Rohd and Shannon Scrofano speak at PSU some months back, I fell into an instant love-hate relationship with them. A very fast-paced relationship, after such a brief, not very intimate encounter. I was intrigued by their bringing socially engaged artwork into the realm of theater/dance theater/performance theater/physical theater/performance art - it crossed all of those boundaries and more. I was annoyed at their presentation, however, for treating us, the audience, like we had never seen a theater project that went off stage to incorporate the audience. Plus, they had even more energy than I. Yikes. After a more intimate gathering after the lecture, however, I was fairly sold that I should check their work out.

"On the Table" is a multi-course piece about sense of place, belonging, inclusion and exclusion. When purchasing tickets, I had to choose if I'd like to start in Portland or Molalla. Where's Molalla?

Act 1: Our experience started in a church-turned-theater in NE Portland, just blocks from my house. We sat in an oval while the 'players' played their parts; of former Portland inhabitants, and of themselves. While playing themselves they were awkward and self conscious, making an argument for Portland's awesomeness, which I care to question. But we became accustomed to the ins and outs of the characters, real and imagined, and we then moved on to our anticipated bus trip to the country. I had some images of haystacks in my mind, as there were some scouting shots presented when they spoke of the piece during its development.

Act 2: On the bus we were given a performance-cheer by a new group of young performers. It was too loud to hear them, but I think we were asked to discuss our sense of "home" and "place" with our neighbors on the bus, which we did. That's a big one for me, having recently moved after a very long stint. We stopped at the Oregon City Amtrak station and witness a faux marriage, and were promptly invited to a wedding. We then were asked to turn on our phones, and many of us received phone calls from an unknown individuals, presumably those who started in Molalla, whom we couldn't hear because the old school bus was just too loud. Nice idea though.

Act 3: A high-perched parking lot in Oregon City dimly lit with warm candlelight, a groovy band playing, and Michael Rohd himself inviting us to think about what we were about to do. The players, integrated at our tables with assigned seating, brought up issues of potential difference and intolerance that one might have to deal with at a wedding, or at our table. What if there were a logger and an environmentalist sitting together? What if there were a vegan and a hunter? And so the list went on. We were asked to discuss these issues with our table. We were obviously set up for a potentially difficult situation here. We sat next to an old couple from Molalla, a middle aged couple from Portland, and a young twosome- not sure of their status, from Molalla. The player at our table facilitated our discussion while we ate a symbolic tasting menu, family style. I actively engaged my older Molalla neighbors, Mel and Melanie, who heard about the project at their local carpet store. They were used to going to see community theater fairly regularly. When our facilitator, I think his name was Joel, tried to engage us in conversation, it was the Portlanders that immediately responded and engaged. We all talked about tolerance and humility, and I used my family as an example. I brought up the struggle to simultaneously take a stance and be tolerant. Finally I asked the Molallans to chip in. The young guy at the other end of the table broke his silence. "I don't care what you think, frankly". "You do what you do and let me do what I do. That's why I live in the country without any neighbors, so I can live my life how I want." Mel piped in: "It's the American way". Joel or our other Portland neighbors suggested it was the Pioneer spirit. The divide between us was thick yet somehow light-spirited and friendly. Our facilitators publicly exclaimed our sentiments as we went back into theater mode for a moment. Then I was tapped on the back, asked by a man if my number was (510) ... . It was the man who had called earlier. He was a Molalla resident, a retired auto mechanic. We chatted about ourselves for a few minutes until his wife and I, along with the rest of the crowd, were led around the other side of the parking lot to witness a final dance way down below us. We clapped, said our goodbyes and got back on the bus.

I wasn't sure again. Had this been self conscious, overbearing, didactic art with some symbolic niceties or did something remarkable just happen?

I don't have the answer, but I have been thinking about it, and about my sense of home, and about the brief yet straightforward meeting we had with the residents of Molalla ever since... .

Art Stars, again

Her's another interesting article about Work of Art, focusing on the success and "failure" of performance artist Nao Bustamante

http://www.frieze.com/comment/article/guest_stars/

Key to the City

When Paul Ramirez Jonas visited PSU I was mildly intrigued, but throughout his description of his newest project, Key to the City, I was confused why anyone would make a key for something that wasn't already locked.  My semi-anarchist-tending self just didn't get it. Many months later, while in NYC for the Smack Mellon show, Ariana encouraged me to go to the Key to the City Commons at Times Square. I was vaguely intrigued- more because Creative Time was hosting the project, less because I was interested. Joining us was Ariana's lovely friend Paloma.

We stood in a short line during a torrential rain storm, hot and steamy rain like we don't get out west.  We were greeted by a nice young woman who turned out to be an art history PHD candidate at CUNY, studying with Claire Bishop. We were led to shelter and given instructions, then led to another tent where the three of us were indoctrinated with keys and passports. One had to give the passport and key to another, with written wishes. I indoctrinated Paloma with the spirit of New Pal-dom. Ariana indoctrinated me in the spirit of Making Things Happen. Paloma indoctrinated Ariana. Off we went. The ritual was delightful, and inspiring as it clearly touched thousands and thousands of people by its prime location. Paul had sent a letter to us after his visit asking many questions about the "public", including how many in a public was enough.  Many thousands seem like a really successful amount to me.
We were also charmed by the design and layout of the passport. It is virtually a well-instructed invitation to explore parts of the city you might not have considered. There are locations in all five boroughs, and one is expected to find a variety of things behind the locked doors. Surprises, delights, flashbacks, and even pastries.

We went to Gleason's Gym in DUMBO as it was an obvious convenient location. Gleason's, we found out during our visit, is the oldest gym in NY. It smelled like man sweat and old basketball gyms from my childhood. The testosterone was thick. The floor squeaked and some guys were boxing in a ring. Others were practicing their left hooks on punching bags (I need one of those). There were a few really friendly guys who were interested in why we were there and added a few anecdotes about the place. We opened a locker in the back corner that held a pair of gloves and some other memorabilia. Not as magical as my experience and the next stop, Cabinet magazine, but still a new mind-opening experience.

Back in NY many weeks later , I decided to have a boroughs adventure. I went to the Queens Museum to see J. Morgan Puett's installation, and ate Indian food at the Jackson Diner on 74th & Roosevelt in Queens. I headed back on the F train to Brooklyn's Carroll Gardens, so I could visit Cabinet Magazine. I lived in Park Slope in 1987-88, so Carroll Gardens, a nearby neighborhood, brought back an eerie deja vu.

I found my way thanks to the handy map and directions in my Passport. I went around the building to a box in an alley. I unlocked the box with my big shiny key, and suddenly some old-timey circa 1920's song played, something about a bubble. There was a message printed inside to "look up". I did, and there above me flew big shiny bubbles, blowing in the wind. As long as the cabinet was open, the bubbles blew and the song accompanied it. There was also a small sign directing me to "not leave anything in the box". I guess they didn't want my old chewing gum.

There was something so remarkably delightful about that adventure and discovery. It made me feel ridiculous for not having been to Carroll Gardens in the year I had lived in Park Slope or the many times I have visited NY since. It got me out of my comfort zone and into discovering a random neighborhood in Brooklyn through a mundane journey. And the bubbles...

Paul Ramirez Jonas, I am now a fan.

Smack Mellon

This long term collaboration was a little tricky. It was hard to foresee the final 'product' from afar: not only how the relationships would emerge with the sites of alternative pedagogy in DUMBO, our on-site collaborators, but also how the installation would look. It was also challenging to negotiate different working modes among our core group, especially as time closed in. The interesting result, though, was a project with multiple, complex visions that felt complete and flawlessly blended. I often think about music as the ultimate and easy collaboration model- one person generally couldn't make what the group could, so collaboration is the natural manner to complete the final goal. In music and other performance there is a certain magic that often happens with the group. With an art model, especially with a visual component such as an installation, there's a general history and understanding that one person could pull everything together, or at least one person would be credited for it.
Just one of us couldn't or wouldn't have had this final vision. It was worth the challenge.

Mildred's

I had the good fortune of going to Mildred's Lane this weekend- a real delight. I think I need to go back.

Work of Art

I wonder if anyone has cable tv so they can watch the entertaining (laughable) show Work of Art. I discovered it while in NY as my bro does indeed have cable.  Luckily Nao Bustamante is there to keep things in perspective. Berin Golanu wrote a great piece about it in ARThood:
http://www.arthood.com/profiles/blogs/wholl-be-the-next-great-artist

Notes from How'd You Get That Awesome Residency?

I have been meaning to post this for a few months but voila.. here it is

How’d You Get that Awesome Residency? A resource-sharing workshop

Why do you want to do a residency?
Travel
Make uninterrupted work
Make site-specific work
Network
Get laid
Explore the unknown
Free/cheap studio space
.....

Where do you want to go?
local? national? international?


RESEARCH- your best friend
1. Transartists.nl - international residencies, festivals, etc
2. NYFA.org – grants and residencies, many NY & US based
3. Artservis – Slovenian, & good for Balkan opps
4. Resartis – international residencies with member orgs
5. Rhizome- opps of all kinds
6. Instant Coffee – Canada & international
7. Unesco Ascheburg- April DLl, developing countries/under 35 mostly
8. Eflux - opps/artist info
and more...

Once you find a place of interest, GO TO THEIR WEBSITE! I can’t stress this enough- that’s where you find out what’s really going on, maybe.. Sometimes the research sites have outdated info.

Who are the other artists who have been there? Are they all, say, Belgian, even though it claims to be an international organization? What career stages are they compared to you? Go to the artists’ websites! Do they accept mostly social practice based artists or painters or sound artists or all? You will be at a disadvantage because you are American.

Do they have a rotating curatorial staff? Do you want to make an impression on a particular curator?

The nicer the weather/more beautiful the location, the more the residency will cost, usually…

Do they want you to interact with the public? Are you willing?

Will you get to network with the local Art Scene?

Are you the only artist living in a remote farmhouse in Finland in the winter? Is that ok?

Are you in a shared housing situation? Is that ok?

How does eating/food purchasing/cooking work? Are you required to be communal?

Do you have to leave a piece of art? Is that ok?

Can you do your project in the allotted time? Are you willing to be away from your family & friends for 6 months?

Can you bring your parter/children/pet?

Some types of residencies
Art vacations
Cultural explorations
Deep work/research/alone time
Social networking
DIY (often great staff, no money)
Institutional (often too-busy staff)
Government
Paid/unpaid
This is one of the few cases where ‘paying to play’ is acceptable. Some of these places give you amazing admin support, or a nice AC apartment, or.. Check the economic status of the country and see how the cost fits in. I did a $400 Taipei residency and I bet it even covered my AC bill, whereas I got all the administrative support I could want. It was so cheap to be there it was totally worth it.

Others are straight up rip offs- look into it.

Make personal contact: introduce yourself and ask a question that can’t be answered on their site, but not ‘will you preview my work?’. Personal contact can make you memorable, and you can ask some of those questions above. Don't sound too needy, as the administrators may not want to work with you...

Follow directions!

Do multiple applications at once, because you will fail- get over it and try again. On average, I’d say, as emerging artists we get one in ten. 


Get your package together, so you can have it ready to send in 30 minutes (so you can apply to 5 at a time, because you will be rejected.. but fear not! You will get some!)


1.Portfolio – a concise body of work – have around 20 available images
Image list, organized with titles, dates, media, information – last 2-3 years at most
Photograph/Photoshop/size/organize images in 2 sets: both 300 dpi and 72 dpi/ 600x800
Most places want digital files but some in Europe still go for the ‘book’, with photos, sketches, resource images, etc.- you can be really creative with those.
Video- is it Mac/PC compatible? NTSC or PAL? You should be prepared for both.
Music/writing/video samples- usually you are asked for 3-5
Each institution will want something different, so have the images ready to cut down to 10, or to email, etc.
2. C.V
List of exhibitions, projects, reviews, education, lectures, etc.
Be creative yet informative
3. Statement
Remember you may be dealing with foreign ESL folk- do not get too heady with your explanations. Be concise, clear, and creative. The Germans may respond to mentioning a German philosopher while the Taiwanese may relate more to quoting Confucius. Also, the curators/jury have to read a lot of these...
4. Project Outline- this will change package to package, but again, be clear
What are your goals (make 10 paintings, research igloo construction, write an opera, etc..)
How do they relate to the organization’s philosophy or the theme of the residency?
What is you work plan (week one.. week two…)
Good to mention cross cultural understanding/ambassadorship for foreign residencies
Again, potential foreign ESL curators- be clear & use simple language
Some places don’t care

Paying for your residency: It might be worth it
Grants
Sublet your place
Savings
Have a garage/studio sale
Get a cc with miles
What, if anything is the institution willing to pay for? Maybe their funding covers only travel, or only materials with receipts,..

Budgets: basically, identify expenses, itemize, and have your total equal what you're asking for. Usually you don't need a budget for a residency but sometimes you might.

Please feel free to add your own experience/expertise!

On Collaboration

Collaboration can be hard!
Back at CESTA, the art center in Czech republic where I lived and worked for eight years, we hosted festivals of international, interdisciplinary collaborations. Every festival had a theme, and individuals or groups would apply to then be put into collaboration groups. We would choose team members from different countries and who worked in different media. Say, a German dancer with an Australian video team, or an American performance art troupe with an Estonian Free Jazz group (that was me, my first experience participating in such a collaboration).

Sometimes these collaborations worked splendidly. Sometimes long term collaborators were made. Sometimes there were fist fights. Literally.

There are many different types of collaborations, but I'll identify two models:

1) The pie-piece model, where each member delivers a predetermined, individual piece to fit in the pie.

2) The make-a-new-pie model, where group members scramble things up and invent a new recipe. A chemical change happens and the pie is a reinvented melding of the ingredients.

I find #2 to be a truly successful model for collaboration. In #1, rogue players caring for their individual slices of pie without considering the whole is a way to work, but does not make collaboration meaningful. In #2, every individual contributes to the whole while learning from each other, adapting her/his methods, letting go of egos, and making a new project.

Like I said, it ain't easy, but I'm curious what you think.

Incorporating Food

Today in History of Art & Social Practice we continued our dialogue via a mock trial, deciding who fit (or didn't) into the canon based on presented 'evidence' by students.
Lief Hedendal came up as he was a presenter at Open Engagement. He makes locally-sourced meals as his practice. He reaches out to local farmers and creates relationships. He claims it.
The majority of the class voted him out of the canon. I was a little bit shocked. He who practices the social, but reflects real life. What's the problem?
Would Jaime Oliver fit into the canon? He by no means claims to be an artist, let alone a socially engaged one, yet he practices socially engaged food activism better than anyone I know. Can we adopt him?
Just thinking..
So Nicole Penoncello and I are launching Your Garden Cookbook, which will offer custom cookbook-making services for Portland gardens. Does this cut the bill?

Will Rirkrit Tiravanija always be the base of our paradigm?

librarification

The transformation of the video gallery into the Portland Art & Social Practice Open Research Tearoom

(P.A.S.P.O.R.T....)  my solution for a 'sexy name'. That's debatable, but meanwhile, ....

How to Use this Library:

Here are some books, articles, resources, tools and opportunities that have been collected and donated. Your input, suggestions and donations make it possible.

Feel free to make notes, suggestions and keywords for books and files (on post-its)

Utilize it, relax, be stimulated and have some tea

You are welcome to  contribute books, printed matter, images, ephemera, show cards and information about yourself or artists/projects/venues/opportunities you think we should know about - the librarian will catalogue your submissions.

Enjoy


P.A.S.P.O.R.T.:
entry
access
..

The Bitter Valise | by Christian L. Frock | Art Practical

The Bitter Valise | by Christian L. Frock | Art Practical

art trips & visiting artists

Swinehart, Nicole, Jillian, Derek and I had a brainstorm & beer session at the Candlelight yesterday afternoon that resulted in these lists. Everyone is welcome to do some research so when the discussion does arise, we can enter it informed.

Trips:
Mexico City: Cross-culture, galleries, museums
LA: Museums, galleries, the counterpart to NY
San Francisco: Has become a a diverse art scene and excellent museums. We could work it out to go for First Thursday (SF) and First Friday (Oakland), plus visit San Jose, Napa, etc.
London: Expensive, but fab..
Montreal: Feels like Europe, interesting snowstorms, tons of artist run spaces
Vancouver: Artist run spaces, West Coast Photography

Detroit: No one will go for this, but there are tons of interesting DIY projects going on, mostly involved with reclaiming the city

Minneapolis: Walker, galleries

Boston & Mass Moca: Also doubtful, but Mass Moca has been cited as a favorite among us

Too Many Suggested Artist Lecturers:

Gus Van Sant

Simon Starling

John Waters

Lucy Lippard

Storm Tharpe

Santiago Sierra

Gabriel Orozco

Enrico Chagoya

John Berger

Nina Katchadourian

Eileen Gallagher

Christine Wong Yap

Emily Vey Duke

Coco Fusco

Anna Oxygen

Chris Jameson

Josh Keyes

Brian Jungian

Kara Walker

Spurse

Jon Rubin

Miwon Kwon

Claire Bishop

Jo Jackson

Miranda July

Waalid Ra'ad

Dave Hickey

Olag Breuning

Zoe Leonard

Steve Lambert

Sophie Calle

Lawrence Wechler

Martha Rosler

Mona Hatoum

Harry Dodge &/or Stanya Kahn

Nao Bustamante

Guillermo Gomez Pena

Francis Alys

Cabinet Magazine

Robert Irwin

Jen Southern and Jen Hamilton

Michael Pollan

Rosa Lee Goldberg

Hal Foster

...

Recipes for May 10

Spanikopita
Sautee onions till soft
Add garlic, well-washed spinach, S & P
Puree with plenty of feta
Layer sheets of filo with brushed olive oil or melted butter
Score piece sizes/shapes well, as it is a pain to cut when baked
Bake at 350 for about 30 minutes

Red Lentil Soup
Another variation- add tomatoes for a savory, acidic edge
Sautee onions, carrots and celery (mire poix) and garlic til soft and releasing juices
Add stock or water, and a large can of chopped tomatoes, soy sauce, a dash of molasses, S & P
Add red lentils and cook till soft, adjusting seasoning as needed

Couscous
You know this one- the more yum yums (fruits, nuts, orange zest, etc.) inside, the better

Black Bean Hummus
Soak beans overnight, drain
Cook beans till soft, about 1-11/2 hours
Drain most of the liquid, reserve
Puree with a clove of fresh garlic, lemon juice, tahini, smoked paprika, olive oil and S & P
Garnish with smoked paprika and cilantro or parsley

Recipes for May 3

Chana Masala
Soak chick peas overnight in plenty of water, or, if just making a small amount, use canned: it's 10x faster, almost as cheap, and you won't burn a pan multitasking waiting for those darn little ones to cook
Drain and cook, if not following above directions, in fresh water, for at least an hour
Puree 1 onion, a huge piece of peeled ginger, and garlic
Chop another onion
Puree a large can of tomatoes
Sautee chopped onion, and add the following whole spices: black cardamom, cloves, peppercorns, cumin
When onions are browned, add pureed onions, ground coriander, tumeric, salt  and chili
When oil rises to surface, add tomatoes
Add cooked, drained chick peas and let flavors meld
Sprinkle with Garam Masala before serving

Curried Potatoes
Boil potatoes in a large pot of cold, lightly salted water
Drain well and add to a sautee pan with butter or oil, cumin and mustard seeds, S & P
Sautee to soak up fat and add coconut milk and curry powder
Continue to cook on low-med until coconut milk is somewhat soaked up

Raita
Toss Yogurt, cucumbers, green onions, radishes, and chopped mint together with cumin, S & P and a dash of sugar to cut the yogurt's tartness
You could add or subtract a variety of fruits or vegetables or spices to change the flavors

Fruit Chutney
Boil any variety of fresh and dried fruits, with equal parts vinegar and sugar, plus ginger, garlic and spices; in this case I used peeled apples and oranges, figs, apricots and mint
When the mixture is thickened, it is done-some varieties might benefit from a light puree

New York

Thanks to everyone who made our NY trip possible! We had an extraordinary visit with Mark Dion's tour of the Natural History Museum, then a trip up to Columbia and to the MFA studios, where they treated us to pizza and beer and a good time. They were remarkably unlike Portlanders: Fashionable hair, foreign accents, tight jeans, no beards.

Next day, some of us went to our Smack mellon meeting, then off to meet the others at Artists Space where we were warmly welcomed, then to the Drawing Center for another nice presentation, and Deitch for paintings in a formerly unseen color scheme. The Whitney Biennial was next- mediocre at best, but a few works really stepped out, like Alex Hubbard's video.

Many of us went to see the fabulous Miwon Kwon speak about her new curatorial project about Earth works. Claire Bishop was in the audience and we felt a little extra shiver of excitement. Miwon Kwon was warm, smart, honest and extremely likable.

Saturday, a tour of Flux Factory with Chen Tamir in Queens, PS1's performance show (comprehensive but squished and poorly "hung"), and Chelsea, where miraculously we saw a number of good shows in 1 block. Lucky day: Catherine Opie, Janet Cardiff, Barbara Kruger and more (all my cards are in the library so I can't name them all).

A visit with Dexter Sinister followed, then dumplings in Chinatown.

Sunday was a free day so I visited the lovely Dan Walsh and checked out his new book projects before eating Korean brunch. Our many-hour late flight allowed for funny and irritating interactions at the airport with a backdrop of teen a cappella.

Recipes for April 26

Chili
Roasted potatoes
Cilantro-lime aioli

I think you've heard about chili- This time, I didn't use any pumpkin, and I used 2 kinds of beans, and a lot of beer.
Roasted potatoes- surely I've told you about these...olive oil, herbs, sea salt, high temp oven, an hour, voila

Cilantro Lime Aioli
If you are using a cuisinart, use a whole egg. If making by hand, use just the yolk.
Take a spoonful of mustard, a room-temp egg, a tbsp of lime juice, salt, and a 1/4 cup olive oil and whirl
As you are whisking or whirling, slowly add a stream of olive oil until the mixture starts to thicken. Once thick, add chopped cilantro and whirl some more.

Recipes for April 12th

Stuffed Roasted Red Peppers with CousCous
Roast some peppers or use jarred ones in winter- they taste rather good and are a heck of a lot less messy than making your own...just saying
To roast, char whole peppers in the broiler, over a grill or over/under any live flame, turning regularly- Let it burn & blacken
Put in a paper bag, sitting in a bowl to absorb yummy juices and wait patiently til they cool a bit
Peel skins with your hands- it should be easy-leaving some charred bits
Open and scoop out seeds
Toss measured couscous with olive oil, lemon zest, dried fruits and nuts, S & P, and any spices you want
Use your fingers to coat each grain with the oil- this will prevent clumping
Pour equal amount of boiled water, all at once, on couscous and cover for 5 minutes
Adjust flavors of couscous and scoop some into each whole pepper after having made an opening in it
Snuggle stuffed peppers in a roasting pan
Serve cold with olive oil and lemon juice drizzled on top or put in the oven for 45 minutes with some feta or goat cheese crumbled on top

Red Lentil Soup
Sautee onions, carrotts, celery chopped in small cubes on low heat til soft
Add fewer lentils than you think, along with water or stock, soy sauce, S & P
Cook for 20 minutes or til lentils are soft and expanded
Puree if you can
Adjust seasoning and cook a little longer, covered, with a Bay leaf

Hummus
Boil chick peas til cooked or use canned ones for small batches
Mash with garlic, tahini, lemon juice, olive oil, using reserved cooking liquid or stock or water to liquefy the consistency if you like it runnier
Voila!

Cucumber Yogurt Salad
Grate and drain two English cucumbers (they are drier and less seedy)
Mix with a tub of yogurt, S & P, a dash or two of cumin, and mint or parsley
Voila!

Impress Your Friends Bread
Combine 2 c white flour, 1 c wheat flour, 1/2 tsp yeast, 1-1/2 tsp salt, and 1-1/3 cups of cool water
Stir well and cover
Let sit for 12-18 hours or until bubbling
Scrape out onto a floured board
Make a round and put in a cornmeal-dusted clean kitchen towel
Let sit in the towel, in a bowl, in a warmish place for an hour or two
Preheat oven to 475, heating a cast iron pan or pizza stone in it
Carefully transfer risen loaf onto hot pan/stone
Bake for about a half hour or til lightly browned
Yummy and easy!

Thanks to Jillian for her company and assistance.

Recipes for April 5th

Butternut Squash Gratin
Toss a few squashes (pumpkins would work too) into the oven at 350 till soft enough to cut without breaking your arm off
Meanwhile make sauce (see below)
Slice squash into 1 inch wedges and peel, discarding seeds and fibrous mess
Sautee in olive oil and fresh sage, S & P until nicely browned
Sautee or steam fresh chard with onions and garlic
Layer sauce,squash, chard and grated parmesan/mozarella
Bake at 350, loosely covered, for about 45 minutes
Serve with fresh parsley sprinkled on top

Tomato Sauce
It's still winter, so use canned tomatoes- Muir Glen organic canned tomatoes are the most flavorful in my opinion (pardon the product placement)
Sautee plenty of onions and garlic
Add canned tomatoes, sage from the squash sautee session, basil, parsley, a dash of molasses, a dash of sugar, salt, pepper and red chili flakes
Simmer for a while, getting the flavors how you want them, then puree lightly, depending on how chunky or smooth you like it- for this recipe smooth is better
Experiment! It's just tomato sauce..explore what different herbs, chilis, more or less sweet or savory- it's easy to make this reflect you

Salad
(you know the drill here)