Open Calls

Call for papers: Theatre and Performance Design Special Issue on Ecoscenography (Autumn 2021)

I am excited to announce a call for papers for a special issue of the journal, Theatre and Performance Design, Autumn 2021, on Ecoscenography!

A global ecological awakening is underway; one that calls for a new philosophy for theatre production that promotes more environmentally conscious, holistic, interconnected and symbiotic ways of making. With a global pandemic enforcing a pause in our practices and changing our ways of communicating and collaborating, we are at a unique moment in time that provides an opportunity to rethink the way we produce theatre now and into the future. How can we seize the potential that this new era of uncertainty and environmental focus demands?

This special edition of Theatre and Performance Design will examine the emerging practice of sustainability and ecological thinking in scenography. Related industries, such as architecture, product design and fashion have already shown us how a sustainable ethic can create novel processes and aesthetics. However, we are yet to fully grasp what a socially and environmentally conscious approach entails for the performing arts. ‘Ecoscenography’ is an expansive term that includes theories and practices that bring an increased awareness of broader ecologies and global issues to performance design. In this special issue, we are interested in how sustainability is being embraced in performance platforms across the world. How is ecological thinking evoking new materials and processes for theatrical design? How are practitioners and scholars critiquing and enhancing the social and environmental advocacy of our field? And what new aesthetics are being revealed? Beyond the necessity of energy and waste reduction, this special issue is interested in what an ecological approach to scenography does – how it influences our ways of thinking, and working – as well as how it might be defined within and beyond the performing arts. It calls for a new preoccupation with the agentic capacities of the field not only in terms of the ‘worlds’ that we create for audiences but also the ecological, social and political consequences, impacts and messaging behind our work.

Submissions are invited on, but not limited to, the following topics:

  • Sustainability in theatre production, set, costume, lighting, sound and projection
  • Theatre design and the circular economy
  • Sustainability in theatre design education
  • Sustainability in a digital performance culture
  • Performance and Ecology
  • Environmental advocacy and performance design
  • Climate change activism and urban scenography
  • Ecomaterialism and material ecologies
  • Ecological approaches in expanded scenography
  • Ecological approaches in theatre architecture.

The editors also welcome interviews with designers and architects as well as visual essays. In the first instance proposals should take the form of a 300 word abstract to be submitted to editorial associate Nick Tatchell at by 12th October with accepted articles due in full by 12th May 2021. Articles usually range between 6000-8000 words.

The post, Call for papers: Theatre and Performance Design Special Issue on Ecoscenography (Autumn 2021), appeared first on Ecoscenography.
———- has been instigated by designer Tanja Beer – a PhD candidate at the University of Melbourne, Australia, investigating the application of ecological design principles to theatre.

Tanja Beer is a researcher and practitioner in ecological design for performance and the creator of The Living Stage – an ecoscenographic work that combines stage design, permaculture and community engagement to create recyclable, biodegradable and edible performance spaces. Tanja has more than 15 years professional experience, including creating over 50 designs for a variety of theatre companies and festivals in Australia (Sydney Opera House, Melbourne International Arts Festival, Queensland Theatre Company, Melbourne Theatre Company, Arts Centre) and overseas (including projects in Vienna, London, Cardiff and Tokyo).

Since 2011, Tanja has been investigating sustainable practices in the theatre. International projects have included a 2011 Asialink Residency (Australia Council for the Arts) with the Tokyo Institute of Technology and a residency with the Royal Central School of Speech and Drama (London) funded by a Norman Macgeorge Scholarship from the University of Melbourne. In 2013, Tanja worked as “activist-in-residence” at Julie’s Bicycle (London), and featured her work at the 2013 World Stage Design Congress (Cardiff)

Tanja has a Masters in Stage Design (KUG, Austria), a Graduate Diploma in Performance Making (VCA, Australia) and is currently a PhD candidate at the University of Melbourne where she also teaches subjects in Design Research, Scenography and Climate Change. A passionate teacher and facilitator, Tanja has been invited as a guest lecturer and speaker at performing arts schools and events in Australia, Canada, the USA and UK. Her design work has been featured in The Age and The Guardian and can be viewed at

Go to EcoScenography

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Joya: artist in residence / AiR apply

Joya: arte + ecología / AiR is an “off-grid” interdisciplinary residency rooted in the crossroads of art, ecology and sustainable living practice. It is located in the heart of the Parque Natural Sierra María – Los Vélez, in the north of the province of Almería, Andalucía. Joya: AiR offers abundant time and space for residents to make, think, explore and learn from their surroundings.

Joya: AiR supports a range of disciplines including, but not limited to, visual art, writing, music, dance, curatorial and film. Founded by Simon and Donna Beckmann in 2009, the Joya: arte + ecología / AiR programme is grounded in the foundation that dynamic and sustainable creative activity is the backbone to regenerating the land that has been slowly abandoned over the last fifty years. 

Since 2009, Joya: AiR has welcomed over 600 artists and creatives to realise their projects within one of the most unique and beautiful regions of the country. This is one of the sunniest regions of Europe receiving over 3000 hours of sunlight a year.

Residents have access to studio space and 20 hectares of land. Accommodation (private room with attached bathroom) and meals are included, as is collection and return to the nearest public transport system.

We happily cater for vegans, vegetarians and occasional carnivores (we have a reduced meat consumption with an emphasis on all our food being local)
We happily cater for vegans, vegetarians and occasional carnivores (we have a reduced meat consumption with an emphasis on all our food being local)
Accommodation is bright, warm and clean with wood heated radiant floors. More images…
Accommodation is bright, warm and clean with wood heated radiant floors. More images…

Selected artists are invited to contribute to the Joya: artists listing and are asked to contribute a small text outlining the nature of their practice whilst in residency. This will be posted to the Joya: website along with a link to the artists website. ( examples are to be found here)

Selected artists are requested to make a presentation of their work to other artists in residence during their period at Joya: AiR. This is not obligatory but it does contribute to the overall experience of all artists in residence.

Joya’s working languages are English and Spanish.

NOTE: with reference to Covid 19 Joya: AiR is conforming to the current (July 2020) Spanish law making the wearing of face masks in public obligatory and social distancing of 1.5m. Neither of these regulations will be a problem for resident artists at Joya: AiR as our location is remote and our complex is large. The wearing of masks and social distancing need only apply when in proximity to other artists. The law will not impact your studio/study time or your interaction with other residents.


Interdisciplinary: Visual Art / Sculpture / Ceramics (enquire before applying) / Dance / Theatre / Performing Arts / Music / Writing / Educational Programmes / New Media / Curatorial / Film Making /


Independent not for profit association/foundation


Joya: AiR is currently accepting applications in Spanish and English only.


The length of the residency would be 1 to 2 weeks (longer periods are available)

NOTE* the experience of previous resident artists strongly indicates that a two week residency is much more preferable and productive than one.






The Joya: AiR residency has a subsidised fee of €325 per week + tax (10%). This covers the cost of accommodation, wood for heating and all meals. It also includes collection from our nearest transport hub, Vélez Rubio.


Note* in the event of an artist not being able to take up a residency opportunity they have accepted (and paid their deposit), and there are extenuating circumstances, we retain their fee for the next opportunity they can be in residence, typically up to one year after their deposit was paid.

Accompanying friends and family:

Accompanying friends and family are welcome subject  to the contribution of the same outgoing fees as the resident artist (above).


The following data is required to consider applications to Joya: AiR and to conform to Spanish law. This data is retained for one year before being deleted. Unsuccessful applicants will have their data deleted as soon as their applications have been processed. Joya: AiR will not use or share your data for any other purpose.


Wassaic Project 2020 Haunted Mill Open Call

Applications are run through our Slideroom portal:

Applications deadline: May 26, 2020, midnight EST 

The Wassaic Project seeks artists to participate in the Haunted Mill on October 31, 2020, our annual, one-night-only Halloween event in the hamlet of Wassaic. Artists transform the floors of Maxon Mills into a PG-13 haunted house, and throughout the event we host family-friendly hayrides, games, and performances.

We accept three types of proposals for the Haunted Mill: site-specific installations in Maxon Mills, outdoor installations, and performances. 

For site-specific installations in Maxon Mills and outdoor installations:
Artists will have complete creative control over their installation, as long as they keep their work PG-13. We want artists who are excited to participate and get weird, as well as artists who are self-directed and independent with their projects and vision. Wassaic Project offers housing in one of our residency houses for 1 – 4 weeks between October 2 and November 2, 2020, private studio space in Maxon Mills, additional studio space in Luther Barn, and full access to our wood shop and print shop. Artists interested in marking site-specific work for the exhibition should apply regardless of whether or not they are interested or able to be in residence in October. We will offer a modest honorarium to participating artists and artistic teams.

For performances:
Please explain how the piece will look or function. If your work is time-based or or has video documentation, you may also link to media from YouTube, Vimeo and SoundCloud.

Application Requirements:
Contact information
Installation proposal
1 – 10 work samples 
$25 application fee

IRL, an Artists and Technologists Residency by UKAI Projects

Apply Now!


A paid artistic residency prompting arts+tech collaborations that respond to the social conditions created by COVID-19


IRL brings together art + tech to develop novel methods of facilitating community connection and momentum building that prioritize those experiencing the greatest risk of exclusion when technology becomes the only source of connection.

All levels of experience welcome.

Deadline May 8th, 2020

Questions? Apply Now!

Call for Papers – [re]Framing the Arts: A Sustainable Shift

International conference organized by Art/Switch
With AHM at the University of Amsterdam and Nyenrode Business University
Location: University of Amsterdam
Dates: Friday 30 – Saturday 31 October 2020
Submission Deadline: 20 April 2020

Ongoing global developments and the rapid growth of the art world highlight the need for a continuous questioning of sustainability in the arts, in terms of actors and methods. In 2020, art institutions and professionals are just beginning to wake up to their role in contributing to climate change. Recent reforms and calls for action, such as the climate emergency declared by the Tate in July 2019, generally focus on the front of house aspects of the art world and the environmental impact of museums. Accompanying these reforms are guidelines and papers from museum associations and NGOs, for instance Resolution No. 1 “On sustainability and the implementation of Agenda 2030, Transforming our World” adopted by ICOM’s 34th General Assembly in 2019. However, the pressing issue of environmental sustainability is still greatly missing from major sectors of the art market, including art transport, storage, insurance, as well as the commercial art flow. In line with the urgent call for action established by the United Nations’ Sustainable Development Goals in 2015, this conference aims to open up an interdisciplinary space for practitioners and academics in order to connect debates, enhance networks and initiate an international platform for the field of sustainability in the arts. Possible topics for contributions include, yet are not limited to:

New building materials; renewable and green energy; museum architecture; waste management/reduction; establishment of effective environmental guidelines.

The vision of art organizations and their commitment to sustainability: management; marketing; catering; digitalization; public programming; education.

Rethinking existing guidelines concerning climate, light and humidity control; sustainable architecture; storage management; green transportation methods.

Object management; sustainable conservation; collection management; a decrease of collection size in favor of sustainability.

Sustainable materials for exhibitions, including circular architecture design and the recycling or reuse of exhibition materials.

Questioning shipping practices linked to fairs, exhibitions, and a growing international online market. Thinking of creative and lasting solutions for a more carbon neutral transportation.

Innovations in art handling: environment-friendly materials; reusable packaging designs; research into the conservational aptitude of these new materials.

More info and to apply


Academics, researchers, designers and art professionals – e.g., curators, art handlers, gallery directors, collection managers, architects, art insurers, shipping coordinators, operation managers, heads of sales, fair coordinators – are invited to submit a short bio and abstract (250 words) for an oral presentation (20 minutes average) at by 20 April 2020. 

We encourage diverse formats of presentations, including but not limited to talks, videos, workshops, music or performances. Files should be saved as follows: [last name, first name_abstract title]. All contributions will be considered for publication in the conference proceedings. For more details, visit: The conference fee is €200; full-time students €50

The Guapamacátaro Center for Art and Ecology: Interdisciplinary Residency in Art and Ecology Program

Our Interdisciplinary Residency in Art and Ecology Program has been around for 14 years, granting space and production support for people who are doing innovative work worldwide, across the arts and sciences. During their stay (3 weeks), participants use the hacienda grounds as a laboratory for the creative process and engaging with the local community. They are free to work whenever desired in the provided studios and anywhere in the property. Experimentation is encouraged as is discourse and collaboration. 


* Open to professionals from all countries, cultural backgrounds and aesthetics.
* Language requirements: BOTH English and Spanish (at least beginner level).
* Up to 10 people per session are selected from a mix of the following disciplines:

  • Performing Arts (Music, Dance, Performance, Theater, Puppetry, etc)
  • Visual Arts (Painting, Drawing, Mixed-Media, Photography, Film/Video, etc)
  • Sculpture and Installation
  • Design and Architecture
  • Humanities and Social Sciences (Anthropology, Philosophy, Writing, etc)
  • Natural Sciences (Ecology, Hydrology, Biology, Geology, etc)
  • LIVE/WORK SPACE: Single or double occupancy bedrooms and studios, plus common areas at the hacienda, at NO COST.
  • PRODUCTION SUPPORT to realize one or more projects while in residency. 
  • PUBLIC EXHIBITION at the Open House event on the last week of the residency.
  • DIGITAL CATALOG showcasing each participant’s work, with a review written by a guest curator or writer.
  • CONNECTIONS with Mexico’s cultural and academic presenters.
  • LIVING EXPENSES: All utilities, cleaning services, drinking water and three meals per day at NET COST: $1,000 USD for the 3 weeks.
  • TRANSPORTATION: We do not cover transportation expenses, but can assist you in pursuing additional funding with other sources, to cover such expenses.


2020 SUMMER SESSION : July 6-26
APPLICATION DUE: March 1st at midnight


Open Call: Apply Now for Ferment

Apply by March 9 here

This article was originally published in 2019 to announce the launch of Year 1 of Ferment. Since then over $65K has been distributed to creators through Ferment. Ferment also does not seek public funding and operates as a stand-alone space experimenting with new ways of making culture.

Ferment: Space for Cultures to Grow

Incubators exist to help startups grow. Incubators are being increasingly leveraged globally to catalyze economic and community development. This is an admirable pursuit but raises important questions about the types of activities that are being supported and the forms that positive development takes. The moral foundations of capitalism are dominating more and more aspects of our culture. Unsurprisingly, incubators echo this, with an emphasis on economic growth, competition, and acquisition.

We will need systems and institutions focused on more than competition and growth if we hope to overcome the massive challenges we face as communities and as a species.

Culture is a collective resource upon which we all draw to make sense of the world. A society that lacks diversity in cultural narratives is a society that lacks the imagination to deal with the massive issues of our times. Incubators, even when ostensibly aimed at solving issues like climate change or inequality, are often deeply rooted in capitalist assumptions about wealth and growth.

New incubators embodying new values are necessary to build our collective resilience and to generate new ideas and approaches to move us forward.


Fermentation is a practice known in most cultures. In fact, there is evidence of beer making in a cave near Haifa, Israel from 13,000 years ago. Fermentation refers to the conversion of sugar into alcohol but is also applied to the leavening of bread (carbon dioxide from yeast activity) and in the preservation of foods through the production of lactic acid (like in pickles and cheese). Ultimately, fermentation serves five basic purposes: to provide greater diversity of flavors, aromas, and textures; to preserve food for later use; to increase the health benefits of a food or drink; to get rid of anti-nutrients, and to reduce the need for cooking and the associated need for fuel.

Ferment therefore becomes a useful metaphor for the work we are trying to do. We seek to:

  1. increase the diversity of stories available to us to make sense of the world.
  2. preserve stories and ways of knowing so that they are not lost to future generations.
  3. offset the trend toward algorithmic optimization of culture at the expense of the hard work and education required to develop personal taste.
  4. offer time and support to approaches that the market might not currently support
  5. accelerate projects that disrupt how we deal with massive problems affecting us and subsequent generations

Fermentation takes patience and there are few quick fixes. Also, we won’t know what we’ve got until adequate time has been given. Ours is a slow and immersive process.

Ferment is an effort to help people outside traditional and institutional spheres of cultural production do their work and contribute to our collective well-being. We are doing this through research and experimentation on emerging business models, new platforms for collaboration, and unexpected sources of income.

Ferment is an effort to understand and enact a different format for ‘incubation’. Ferment is a space for new culture to grow. We intend to create alternatives to state and corporate forms of incubation.

We are following the advice of Noam Chomsky, who calls for, “spontaneous and free experimentation with new social forms”. Furthermore, we are pursuing Chomsky’s goal of “possibilities for reconstruction of society in the interests of those who are now, to a greater or lesser extent, dispossessed”.

Ferment is composed of creators that are advancing ways of understanding and describing the world that might not find a home in institutional creativity (or incubation). This includes diasporic practices, hybridized approaches, creative work that spans disciplines and sectors, and art and design that draws on traditions that do not privilege capitalist models.  


Ultimately, we hope to offer a new marketplace for solutions. Traditional approaches to incubation should not be dismissed. Our offer is a way of supporting entrepreneurial activity that is centered in different values and approaches. In farming, mono-cultures are fragile. The same argument applies to entrepreneurship and incubation.

Reach out to find out more or check out the 2019 cohort here.

Apply by March 9 here

Open Call: New Creative New Zealand artist residency in Fiji focuses on climate change in Oceania

Creative New Zealand’s latest artist residency in Fiji is now open for proposals from mid-career or established Aotearoa-based artists of Pasifika heritage to work on an arts project themed around climate change.

The new partnership with the University of the South Pacific (USP) in Suva has been established as part of the Pacific Arts Strategy 2018 – 2023.

The successful applicant will be based at the Oceania Centre over three months from August to October 2020.

The main aims of the residency are to:

  • allow the artist to share their skills with the Fijian arts community and to develop a deeper understanding of Fijian culture, arts practice and the arts community across Oceania
  • encourage the development of contemporary arts skills among students and peers at the Oceania Centre, Fijian artists and the wider community through their engagement with the selected artist
  • build professional networks in Fiji and across Oceania for future opportunities.

Arts Council member Luamanuvao Dame Winnie Laban says that it’s an exciting development as part of the Pacific Arts Strategy to continue to foster cultural exchange between New Zealand and Fiji.

“This is a first for Creative New Zealand and the Arts Council of New Zealand Toi Aotearoa, where we can provide support for an artist and their project focusing on such an important global issue, especially for our peoples across Oceania.”

Director for the Oceania Centre for Arts, Culture and Pacific Studies Frances Koya Vaka’uta says, “It offers a wonderful opportunity for the recipient artist and for the arts community in Fiji and the USP region.”

“We also look forward to exploring new ways of engaging in arts discourse not just between the artists in the islands and Pasifika artists in New Zealand but also about their arts practice. The success of this first offering will help us to shape similar island-based initiatives for other member countries of the University in the future,” she says.

Creative New Zealand is investing $25,000 for the residency in 2020. Find more information on our website.

Key dates:
  • Fund opens for applications: 24 January 2020
  • Applications close: 3 April 2020
  • Notify results: 22 May 2020

For funding queries and advice on applying to the fund, please contact:

Simonne Likio
Funding Services Adviser 
Freephone: 0800 273 284

For media queries please contact:

Paul Lisi
Senior Communications Adviser – Pacific
Creative New Zealand | Toi Aotearoa
Mob: +64 27 218 6382 | DDI: +64 9 373 3090
E: | W:

Open Call: Artist-in-Residence Program at Potsdam Institute for Climate Impact Research

Berliner Künstlerprogramm des DAAD (Berlin, Germany)

Application deadline: March 8, 2020 

Potsdam Institute for Climate Impact Research
14473 Potsdam
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Climate change is no longer a scientific, but a societal and policy problem. Consequently, various societal groups need to be involved in solution development as well as in debates on what sustainability may look like. To foster exchange and discussion between artists and scientists, the DAAD Artists-in-Berlin Program, the Potsdam Institute for Climate Impact Research (PIK) and the City of Potsdam Department of Culture and Museums have joined resources to offer an artistic residency at PIK.

Founded in 1992, PIK addresses crucial scientific questions in the fields of global change, climate impact and sustainable development. Researchers from the natural and social sciences work together to generate interdisciplinary insights and to provide society with sound information for decision making. The main methodologies are systems and scenarios analysis, modelling, computer simulation and data integration. The historic buildings of the institute and its high-performance computers are located on Potsdam’s Telegrafenberg campus, a unique ensemble of research facilities built in the nineteenth century. Since 2011, PIK has used the building formerly housing the “small photographic refractor” as a studio for visiting artists and as a place for scientists and artists to come together.

Artists-in-residence at PIK are provided with accommodations in the city of Potsdam and studio space at PIK, as well as a stipend paid in three monthly installments in order to offset living expenses and costs for materials and travel. During their residency, guest artists are expected to interact with the scientific community and present their work to the public in Potsdam and Berlin.

Applications are welcome from international contemporary artists working in a wide range of disciplines including visual art, film, literature, music/sound, curating, design and theory. This year, the residency will take place for a three-month period from September to November 2020. Awardees are selected by representatives from the DAAD Artists-in-Berlin Program, the City of Potsdam Department of Culture and Museums and PIK, along with two independent jury members.

To apply, please submit the following documents via email only:
(1) Letter of motivation outlining your research interest and what mutual benefits you would like to see
(2) Letter of recommendation (from an institution or person)
(3) Your CV and portfolio

All documents must be in PDF format, 9MB max filesize
Please submit to:

The PIK Artists-in-Residence Program is a cooperative project between the Potsdam Institute for Climate Impact Research, the DAAD Artists-in-Berlin Program and the state capital of Potsdam and is financed by funds from the German Federal Foreign Office and the state capital of Potsdam.

(Top photo: Margret Boysen. Potsdam Institute for Climate Impact Research photographic refractor.)

Open Call: Dance Exchange 2020 Summer Institute

OAC: 2020 Summer Institute

July 10-17, 2020
Takoma Park, Maryland

General Rate: $850 | Alumni Rate: $750

*Limited Work/Study & Scholarship available 

Please contact Sam Horning at 

Part of our Organizing with Artists for Change initiative, the Dance Exchange OAC: Summer Institute embraces process and performance, dialogue and dancemaking, and the role of artists as changemakers in and beyond the studio.

Work with Dance Exchange artists in daily movement classes and workshops to build creative tools and practices for researching and generating artwork and action. Join Executive Artistic Director Cassie Meador and Dance Exchange collaborators to explore dancemaking and performance through research and engagement connected to Cassie’s new project, Future Fields, funded by the National Endowment for the Arts.

This will be a supportive environment for focused training and development for movers and thinkers of all ages and physical capacities—for those coming to dance through another field, returning to dance after many years, or currently in a daily dance practice.

To register, please click HERE. 

About Dance Exchange’s Institutes

Dance Exchange’s Institutes are a part of our Organizing with Artists for Change initiative and focus on responding to important issues and opportunities of our time. Together we build capacities and connections for artists to ignite inquiry and inspire change in our communities by sharing practices, collaborating on ideas, and growing the network of socially-engaged arts practitioners.