Monthly Archives: January 2016

Opportunity: Call for Young Craftmakers & Designers

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

The Modern Heritage Craft Project has run in 2014 and 2015 giving eighteen 15-25 year olds, all at different stages in their careers, the chance to work with Dumfries and Galloway’s most talented makers.

After a successful pilot period supported by The Holywood Trust and The Heritage Lottery Fund, the Modern Heritage Craft project has now become Modern Makers.

Last year, Amanda Simmons and Shona Guthrie worked with nine young people. In 2014 Ian Cameron Smith and Godfrey Smith also worked with nine young people to create a range of contemporary functional objects.

This year the Maker will be Sam Booth who has over 30 years of experience in interior, product and building design.  In the last two years he has establishedEcho Living realising a long held ambition to develop beautiful, sustainable, small buildings, and has now designed a collection of  bespoke, site specific projects, and off-grid, modular solutions.

Modern Makers 2016 will enable up to 6 young people, age 15-25 years old from Dumfries & Galloway the chance to work with Sam for 20 days between February – June 2016. The final dates will be decided between the Maker and particpants.

The deadline to apply for this opportunity is 18th January 2016.

Download more information and guidelines on how to apply here.

Modern Makers is funded by The Holywood Trust and CashBack for Communities through Creative Scotland’s CashBack for Creativity Programme.

 

This opportunity comes from Upland, a bold, ambitious, world-class, rural-based visual art and craft development organisation based in Dumfries & Galloway, SW Scotland.

The post Opportunity: Call for Young Craftmakers & Designers appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Opportunity for Artists: Open Call for SFRM

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

Spring Fling Rural Mural was launched in 2014 to huge acclaim and appreciation. The project saw 11 artists collaborate to produce numerous large murals across the region on buildings, vehicles and unusual objects. Upland has again joined forces with urban art specialists, Recoat, to grow and evolve this innovative project.

Call Out for SFRM Artists

We are looking for Upland artists to take part. We need artists who are interested in collaboration and open to working with others to learn new skills and create concepts.

The artists will collaborate to create large-scale murals in both D&G and the Recoat artist’s home city. Therefore we need artists who have some experience of painting and obviously experience of painting larger works would be of benefit, but it is not essential.

The murals in D&G will be painted between the 2nd– 17th April and the murals in other cities after Spring Fling 2016 in the summer.

Please email your CV, a statement that outlines why you would like to take part in the project (no more than 1 side A4) and up to 8 example images of your work to (joanna@spring-fling.com).

The deadline for SFRM applications is Monday 25th January 2016.

Previous SFRM applicants and participants can apply but should explain clearly in their statement why they should be considered again. Non-member applications welcome (membership needed if successful). SF 2016 participants who have noted interest in taking part in their application should send a statement outlining why you would like to take part. No images necessary.

The post Opportunity for Artists: Open Call for SFRM appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Opportunity: Film Residency

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

Cove Park supports the creation of new work and/or new ways of working, especially through collaboration across disciplinary borders and research that takes artists into new professional and/or creative territory. This film residency will therefore include 2 or 3 others, from different sectors or disciplines, with whom the filmmaker has not worked previously.

Applications are open to mid-career or established screenwriters or writers/directors based in Scotland. Please see the ‘Call for Applications’ PDF for information on how to apply.

Filmmaker Residency Guidelines

The closing date is 18th January 2016.

The post Opportunity: Film Residency appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Let the River Flow: Looking for the Kifissos

MELD

This post comes from MELD

A couple of months before the Climate Summit in Paris, Cop21, MELD decided to add its grain of salt and produce an experimental action for Athens and its central river, the Kifissos. Athens is one of the least green cities in Europe and the Kifissos was covered by a highway at the dawn of the Olympic Games.

When I arrived in Athens, people kept mentioning the “potami” (the river) as a geographical locator, but the river was nowhere to be seen and when asked, Athenians were vague and uninformed about its existence.  For the past five years, MELD has been developing a multimedia art work with German artist, Alexander Schellow, 50 Greek experts in the fields of architecture, green chemistry, anthropology among others as well as people living by the river.  The piece has been shown in different formats in various countries in the world, but we never had the opportunity to show any of the work in Athens.

For Let the River Flow, we wanted to create a project that would connect the river to the Athenian civic society: inviting the citizens to meet us at the mouth of the river and form a “human” river linking the different districts of this area.  A small gesture to inspire Athens to connect and reclaim its river.  The act of uniting citizens from all walks of life around a river they have never seen (a large majority) and linking them with each other and the river as a catalyst could only bring awareness, but as well emotional links to the participants.

We have produced several actions in Athens inviting the citizens to participate and in each and every one of them, had a very successful turnout and feedback, both from city officials, and people on the ground.  As usual, we proceeded by calling upon our community and volunteers in Athens.  Though the response was not great, we managed to compile a team of six photographers and filmmakers, as well as 6 volunteers to help us coordinate the making-of the river.  The Municipality of Athens came on board and was going to disseminate the information through their press contacts: business as usual.

On Saturday morning, the day of the event, in route to the Southern suburbs, where the river plunges in the Sardonic Gulf, I was bombarded by a series of messages from our volunteers saying they were unable to attend.  To make a long story short, we ended up with 2 volunteers, a couple of photographers and around twenty participants. The river was suddenly becoming a smaller stream than planned.  In the midst of the deception of seeing so little engagement and commitment from the civic society to its environment, we had to transform the action and adapt to this peculiar situation.  We were lucky as the participants, mainly women, had a great level of social responsibility and commitment.  Passion and kindness was floating in the air.  Enthusiasm became our fuel.

Our stream started its procession towards the river’s mouth, from the Old Faliro subway station.  We entered the coastal no-man’s land.  In fact, this entire area is an everlasting landfill. TheSaronikos Gulf has been the center ofEutrophication because of the untreated sewage pollution discharged from the metropolitan Athens and Piraeus areas and the shipping pollution of the port. Before, the effect of sewage effluent (calculated at 600-750,000 m3 per day) on the benthos of the Saronikos was catastrophic from pollutants, such as hydrocarbons, sediments, heavy metals and PAHs.

Numerous abandoned Olympic facilities populate the area. In the background, separated by the motorway, the old invisible coastline used to be the residence of the golden age of Athens *1920-30s, where Athenians had their secondary homes and glamourous hotels.

Today we can still find traces of these secondary homes, abandoned or squatted by the homeless.  What was one of the most desirable areas of Athens has become a no-man’s land and a depository for garbage.  An area that is better forgotten.  How can that be?  As we make our way among the recycled Olympic buildings, we reach the mouth of the Kifissos.  Here the river stands facing the Aegean, gorged with water.  We decide to take a short brake to honor the river and understand why it is in such a state.  Access is more than difficult: nobody really knows where it is and there are no signs.  Additionally, there is no pathway to the river.  You have to find it and walk through a hostile landscape, among which plastic bottles and all kind of garbage.  We don’t have access to the river, but GARBAGE does. How ironic!  The sun is shining, it’s a beautiful day, we encounter very few people on our path, aside from some fishermen waiting patiently for the catch of the day.  I certainly would not dare try any fish from this area, between the river’s polluted bank and the seaside where there is very little chance to seize a “healthy” fish.

A few meters away from the mouth, we discover another river, the Illisos, that has been high-jacked for other purposes.  The Illisos has also been covered by roads, legal and illegal settlements and now has been rerouted to facilitate water to a couple of new developments on standby on that very coastline.  Developments located in different urban zones, which often lead to political discussions ending up in using the rivers as such, but leaving them in a total state of abandonment, both in reality and in the collective memory of the Athenians. Whether it is The Niarchos Park, or the Hellinikon project, we are sold on sustainable mega projects, which mostly emphasize the commercialization and privatization of the land. A land that has ceased to belong to the citizens of Athens for a long time and is the pray of local and international developers. This disconnect between the natural environment, the city and it citizens is fueled by political and economic decisions and accepted by the large majority of citizens, including the European commission, which is keener to collect “debt money” than enforce European and Greek environmental laws.

The Niarchos project in Kalithea is commendable for bringing to Athens another lung to the city, as well as a new cultural program, but ignoring the living rivers by its side in the name of politics and economics is not an acceptable proposal in the effort of sustainability.  It is more than time for Athenians to look back at their ancient history and not only at their cultural heritage, but at the inherent connections that exist between the citizens, the gods and Nature.

The post, Let the River Flow: Looking for the Kifissos, appeared first on MELD.
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meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

Go to MELD

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CALL FOR IDEAS: TAKING BUILDINGS DOWN

Open Calls

Tuesday January 12, 2016 – Wednesday January 20, 2016

(The Competition of the Competition of Competitions)

What does it mean to build? Traditionally, building has been defined as the assembly of parts or materials toward the creation of a whole. While to build is often perceived as an Apollonian pursuit, to destroy appears to be its Dionysian counterpart. Understanding that our built environment is the product of many forces, it can dialectically be reduced to the tensions between creation and destruction, addition and subtraction, and erection and demolition.

In a design culture focused on the superlative (the tallest, the newest, the priciest), in which destruction is often perceived of or produced by an act of violence, the processes of removal appear as secondary concerns or collateral damage. However, if we are to better understand the life cycles of our built environment, we must explore the possibilities and implications of Taking Buildings Down.

This competition of ideas is simultaneously a political act, a means of criticism, and a method of speculation.

Taking Buildings Down asks proposals for the production of voids; the demolition of buildings, structures, and infrastructures; or the subtraction of objects and/or matter as a creative act. Removal is all that is allowed.

ELIGIBILITY

This call is open to anyone interested in articulating visions for the future of our built environment.

CONTENT AND CRITERIA

Each proposal should consider and present three items:

  1. A pre-existing current condition
  2. A process of removal
  3. A resultant condition of removal

Proposals should consider contemporary contexts. There are no limitations in scale or scope. The focus of the proposal may be on the process of removal, the resultant condition, or both.

Projects will be judged on their ambition, vision, methodology, and clarity.

PUBLICATION

Winning entries and any additional entries deemed to be worthy of publication will be included in a printed competition compendium released by Storefront for Art and Architecture.

QUESTIONS

Below are answers to questions we have received:

Q: Does the submission require both physical and digital copies be submitted?

A: Yes.

Q: Can the format of the submission be Landscape orientation?

A: Yes, as long as the size is 8.5″ x 11″.

Q: I want to submit a video, but file upload limit is 15MB, how do I do this?

A: Please submit a PDF with a still frame image and a link to download the video through Vimeo, YouTube, or your preferred web service.

JURY

Jeff Byles

Jeff Byles is the author of Rubble: Unearthing the History of Demolition, a wide-ranging investigation of “unbuilding” as a culture-shaping force. Deeply engaged in public design and its role as a catalyst for cultural innovation, Jeff has explored the built environment in his nearly 20 years as a writer, journalist, editor, and urban thinker. Jeff’s expertise in public design includes leadership roles at Van Alen Institute, where he oversaw research initiatives focused on urban form and well-being and helped lead design competitions and public programs devoted to transforming cities and public spaces.

Through his role in the design and consulting practice Being Here, Jeff works at the intersection of site and society to inspire ecological, social, and economic vitality in communities through creative collaboration. Jeff is the co-author of A History of Design from the Victorian Era to the Present, and he has lectured internationally on architecture, landscape, and the future of the city. Since 2014, Jeff has served as President of The Fine Arts Federation of New York, an advocate for design excellence in New York City and beyond.

Keller Easterling

Keller Easterling is an architect, writer and professor at Yale University. Her most recent book, Extrastatecraft: The Power of Infrastructure Space, examines global infrastructure networks as a medium of polity. Another recent book,Subtraction, considers building removal or how to put the development machine into reverse. An ebook essay, The Action is the Form: Victor Hugo’s TED Talk previews some of the arguments in Extrastatecraft.

Other books include: Enduring Innocence: Global Architecture and its Political Masquerades, which researched familiar spatial products in difficult or hyperbolic political situations around the world, and Organization Space: Landscapes, Highways and Houses in America, which applied network theory to a discussion of American infrastructure.

Easterling is also the co-author (with Richard Prelinger) of Call it Home: The House that Private Enterprise Built, a laserdisc/DVD history of US suburbia from 1934–1960. She has published web installations including: Extrastatecraft, Wildcards: a Game of Orgman and Highline: Plotting NYC. Easterling’s research and writing was included in the 2014 Venice Biennale, and she has been exhibited at the Rotterdam Biennale and the Architectural League in New York, among other venues. Easterling has lectured and published widely in the United States and abroad. The journals to which she has contributed include Domus, Artforum, Grey Room, Cabinet, Volume, Assemblage, e-flux, Log, Praxis, Harvard Design Magazine, Perspecta, and ANY.

Pedro Gadanho

Pedro Gadanho is the Artistic Director of the forthcoming Museum of Art, Architecture and Technology (MAAT) in Lisbon, Portugal. Previously, he served as Curator of Contemporary Art and Architecture at the Museum of Modern Art (MoMA) in New York.During his time with MoMA, Gadanho was involved in the Young Architects Program (YAP), whim aims to foster new ideas in young architects through installations at MoMA PS1, the MAXXXI Museum, the Istanbul Modern Museum, and CONSTRUCTO

From 2000 to 2011, Gadanho was a professor and architecture faculty member at the University of Porto in Porto, Portugal. He also previously served as director and curator for ExperiementaDesign for three years.

Gadanho attended Politecnico di Milano before earning his master’s degree at the University of Kent and his Ph.D in architecture and mass media from the University of Porto.

Jorge Otero-Pailos

Jorge Otero-Pailos (b. 1971) works at the intersection of art, architecture and preservation. He has been exhibited at major museums, festivals, galleries, and foundations; notably, Manifesta7 and the 53rd Venice Art Biennial. In 2009, he was listed as one of ten young Spanish artists to watch in Architectural Digest and was featured that same year in the BBC TV’s documentary Ugly Beauty alongside Damien Hirst, Anish Kapoor, Carl Andre, and Yoko Ono. He has received awards from major art, architecture, and preservation organizations, including the Kress Foundation, the Graham Foundation, the Fitch Foundation, and the Canadian Center for Architecture. In 2012, he received the UNESCO Eminent Professional Award. He is a member of the Academy of Arts and Sciences of Puerto Rico.

Otero-Pailos studied architecture at Cornell University and holds a PhD from MIT.  He is Associate Professor of Historic Preservation at Columbia University’s Graduate School of Architecture in New York. He is the founder and editor of the journal Future Anterior.

Christiane Paul

Christiane Paul is Associate Professor and Associate Dean at The New School’s School of Media Studies and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. She has written extensively on new media arts and lectured internationally on art and technology. Her recent books are A Companion to Digital Art; Digital Art; Context Providers – Conditions of Meaning in Media Arts (co-edited with Margot Lovejoy and Victoria Vesna); and New Media in the White Cube and Beyond.

As Adjunct Curator of New Media Arts at the Whitney Museum of American Art, she curated several exhibitions—including Cory Arcangel: Pro Tools (2011),Profiling (2007), Data Dynamics (2001) and the net art selection for the 2002 Whitney Biennial—and is responsible for artport, the Whitney Museum’s website devoted to Internet art. Other recent curatorial work includes What Lies Beneath(Borusan Contemporary, Istanbul); The Public Private (Kellen Gallery, The New School), Eduardo Kac: Biotopes, Lagoglyphs and Transgenic Works (Rio de Janeiro, Brazil); Biennale Quadrilaterale 3 (Rijeka, Croatia); Feedforward – The Angel of History (co-curated with Steve Dietz; Laboral Center for Art and Industrial Creation, Gijon, Spain); INDAF Digital Art Festival (Incheon, Korea); and Scalable Relations (Beall Center for Art and Technology, Irvine, CA).
Dr. Paul has previously taught in the MFA computer arts department at the School of Visual Arts in New York; the Digital+Media Department of the Rhode Island School of Design; the San Francisco Art Institute, and the Center of New Media at the University of California at Berkeley.

Annabelle Selldorf

Annabelle Selldorf is the Principal of Selldorf Architects, a 65-person architectural practice that she founded in New York City in 1988. The firm has worked on public and private projects that range from museums and libraries to exhibition design and a recycling facility.

Selldorf Architects recently completed the Sunset Park Material Recovery Facility, a new recycling facility and education center on the Brooklyn waterfront. The firm’s renovation of The Clark’s Museum Building in Williamstown, Massachusetts opened to critical acclaim in 2014. Selldorf has designed numerous galleries including the ground-up 30,000 SF LEED Gold building for David Zwirner on West 20th Street, as well as projects for Hauser & Wirth, Barbara Gladstone, and Gagosian among others.

Ms. Selldorf designed the installation of the 2013 Venice Biennale at the Arsenale in collaboration with curator Massimiliano Gioni. Selldorf Architects is currently designing an expansion for the Museum of Contemporary Art San Diego and Luma Arles, a new center for contemporary art in France. Born and raised in Germany, Ms. Selldorf came to the United States to study architecture and received degrees from Pratt Institute and Syracuse University. Ms. Selldorf is a Fellow of the American Institute of Architects and serves on the Board of the Architectural League of New York and the Chinati Foundation.

David Bench (INCA) is a registered architect in New York. He works for Selldorf Architects, where he is project architect for the Luma Foundation in Arles, France, the Mwabwindo School in Zambia for the 14+ Foundation, and a private residence.  He is interested in the intersection of architecture and politics, and has explored these themes in writings for Uncube and Clog and in seminars at Abrons Art Center. He is a graduate of the University of Texas at Austin and Yale University.

Jonathan Chesley (INCA) works as a designer at Selldorf Architects in New York City. He first became interested in demolition while completing his MArch at the University Oregon. He assisted his Professor Erin Moore in researching notable architectural projects designed to consider the full lifecycle of buildings. These concepts informed his design work focused around the role of temporary and mobile architectures on the evolution of urban form. After graduation, he collaborated on a design/build project on the St. Lawrence River in which a boat house was renovated into a guest house. This served as the first practical application of ideas surrounding deconstruction. Other structures on the property were harvested for building materials. This slow removal was in the interest of the site’s landscape ecology. Along with working at Selldorf, Jonathan is an active volunteer of the Gowanus Canal Conservancy and Arts East New York, organizations that promote the social, cultural, and natural ecology of the city. Through these experiences, he continues to explore the pragmatic and conceptual effects of creation and destruction on urban morphology.

NOTIFICATION

Winning entries will be announced in February 2016.

REGISTRATION

Entrants are required to register for the competition in advance of the submission date. Registrations must be received by January 12th, 2016 before midnight.

Applicants can register online at https://storefront.submittable.com/submit

There is a $50 registration fee ($25 for Storefront members). Projects that have not registered by the January 12th deadline will not be reviewed.

SUBMISSION REQUIREMENTS

Applicants will submit an application package. The package should be in 8 1/2″ x 11″ page portrait layout, with no more than 20 single-sided pages. It should be delivered in the following formats:

– A digital PDF (15 MB or less), uploaded to the competition platform no later than 11:59 p.m. on January 20th2016

– A bound proposal documentation book, delivered no later than January 21st, 2016 at 6 pm to Storefront’s office at 611 Broadway, Suite 634, New York, NY 10012. Proposals received after this date and time will not be accepted. (Note that Storefront’s office is located at a different address from its gallery space).

APPLICATION PACKAGE CONTENTS

Physical applications must be packaged in a sealed envelope with registration number written clearly and legibly on the outside. The package should contain the following contents:

A: COVER SHEET

Please fill out and include the cover sheet as the first page of your submission. Access the Cover Sheet.

B: PACKAGE

Please include the following materials in a bound letter-size booklet (maximum 20 pages, including supplemental material):

  1. Application Cover (with proposal title and registration number)
  2. Location/Context
  3. Mission Statement (500 words or less)
  4. Three images/plans/diagrams depicting:
  1. The current condition
  2. The process and methodology of removal
  3. The resultant condition

FORMAT:

Participants can submit support material in the following formats:

  • Videos (maximum 3 minutes in length)
  • Models (maximum size 10”x10”x10”)
  • Additional documentation material as considered essential by the applicants (maximum 10 pages)

SCHEDULE

Thursday, November 5 - Competition Launch

Tuesday, December 1 - Deadline for Submission of Questions

Tuesday, December 22 - Publication of Questions and Answers

Tuesday, January 12 - Registration Deadline

Wednesday, January 20 - Digital Submission Deadline

Thursday, January 21 - Physical Submission Deadline

February - Results Announced

ANONYMITY

Entrants may not communicate with members of the Jury about the competition in any way or form until there is a public announcement of the winner.

No partner, associate, or employee of any Jury member may participate in the competition.

Any entrant who violates these rules will be disqualified.

DEADLINE

Digital submissions must be entered through the competition platform byJanuary 20th, 2016 at 11:59 pm

Physical submissions must be delivered to the Storefront for Art and Architecture office on or before January 21st, 2016 between 11 am and 6 pm EST

Please note the office address below:

Storefront for Art and Architecture

611 Broadway, Suite 634

New York, NY 10012

Mailed submissions must arrive at the office by the submission deadline (note that the deadline is the date of receipt, not a postmark date).

NOTIFICATION

Winning entries will be announced in February 2016.

SUGGESTED READINGS

Participants interested in additional academic, cultural, and philosophical references can consult the Taking Buildings Down bibliography (created by INCA):

http://storefrontnews.org/programming/party-bibliography-on-demo/

ADDITIONAL INFORMATION

Copyrights for project submissions shall remain the property of the author.

Submitted materials shall not be released nor exposed to the public, press, or other media before the announcement of a winning entry or the cancellation of the Competition. Applicants who violate this will be disqualified.

Participants agree to permit Storefront to use the submitted materials in public posts, publications, or exhibitions, or for archival, promotional, educational, and other purposes at its discretion. The Jury and/or Storefront for Art and Architecture reserve the right to cancel or suspend the Competition for any reason, including those causes beyond the organizer’s control that could corrupt the administration, security, or proper participation in the Competition.

Storefront for Art and Architecture assumes no responsibility for postal, email, electronic, technical, or natural conditions that prevent the receipt or judging of a Competition submission or any part thereof.

Storefront for Art and Architecture reserves the right to amend these Guidelines at any time without notice.

No information contained in submissions shall be deemed confidential and such information may be shared with other governmental entities. Therefore, please do not submit any information that may be deemed proprietary in nature. Competition sponsors shall not be liable for any costs incurred by any respondent in the preparation, submittal, presentation, or revision of its submission. Competition sponsors shall not be obligated to pay and shall not pay any costs in connection with the preparation of such submissions.

CREDITS

This competition is curated by INCA, the winners of the Special Prize for Storefront’s Competition of Competitions. INCA is a collaboration between David Bench and Jonathan Chesley, architects at Selldorf Architects in New York who have an interest in conceptual work as a complement to practice.

You can read more about the competition and the winners here: http://storefrontnews.org/archive/winners-competition-of-competitions/

ABOUT THE COMPETITION OF COMPETITIONS

Launched in 2013, Storefront for Art and Architecture’s “Competition of Competitions” asks participants to create a brief that formulates the questions of our time and defines the agents that should pursue the task of commissioning visions for the future.

The competition provides a space for critical thought about the way competitions and commissions are organized, and allows participants to rethink the structure, content, and stakeholders of competition briefs. In doing so, participants deliver new and provocative forms of engagement with the economic, political, and social context surrounding the development of our cities.

For more information, please see: http://storefrontnews.org/programming/competition-of-competitions/

Opportunity: Visual Arts Residency

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

Applications for the 2016 International  Jon Schueler Scholarship are now open.

The residency will take place from Mon 18th  July – Frid 7th Oct 2016

Closing date for applications Tues 3rd Feb 2016

Online applications are now being welcomed for the fourth Sgoilearachd Jon Schueler/Jon Schueler Scholarship, Visual Artist in Residence, an exciting international residency opportunity to take place in Skye in the summer/autumn of 2016.

In a unique international partnership between Sabhal Mòr Ostaig, the National Centre for Gaelic Language, Culture and the Arts (Scotland) and the Jon Schueler Charitable Trust, the successful applicant will have the opportunity to come and research, develop and produce work for 3 months in the dedicated artist’s studio in a spectacular setting overlooking The Sound of Sleat, the place which so inspired Schueler as an artist.

The Scholarship is open to international artists (including Scottish and UK) working to the highest level of contemporary professional practice in a visual medium and with a particular interest in landscape and the environment. Artists must have completed formal arts education at least 3 years previously.

The annual (2013 -2016) visual arts scholarship has been set up in celebration and in memory of the life, work and artistic influence of internationally renowned artist and abstract expressionist, Jon Schueler (1916-1992), in recognition of his very special relationship with the landscape and environment of the Sound of Sleat.

The aims of the residency are:

  1. To provide a visual artist working to the highest level of contemporary practice a period of research, development and production in a unique environment;
  2. To promote Skye, The Gàidhealtachd and Scotland as an exciting, distinct and inspiring place to work for a contemporary artist, and to promote the exchange of ideas.

The residency is for 12 weeks and will take place from 18th July – 7th Oct 2016.

The Artist will receive:

  • A residency fee of £8,000 for the 12 week period
  • An allowance of £500 for materials
  • Provision of an artist’s studio with ICT service and support
  • Reasonable travel costs of a single return trip to undertake the residency in Skye
  • Accommodation on campus

The Scholarship will enable a visual artist to come and work in and from the large Visual Arts Studio, based within the FÀS Centre for the Creative and Cultural Industries, Sabhal Mòr Ostaig, in a rich and multi-disciplinary arts environment. The Stiùidio Ealain is a custom-built working Visual Artist studio. Perched high over the rocky shoreline and looking out over the Sound of Sleat and Knoydart.

More information and how to apply here.

The post Opportunity: Visual Arts Residency appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Mysteries In Ice | Thompson Library Gallery | ArtCop21

MELD

This post comes from MELD

Mysteries in Ice is a celebration of the 25th anniversary of the Byrd Polar and Climate Research Center Archival Program. The
historic collections of the Polar Archives are featured alongside contemporary pieces that represent current exploration in ice-covered regions.

This exhibit addresses elements of daily life in harsh environments, including lodging and food, as well as the communication of scientific concepts in media and pop culture. Documents, artifacts, and imagery highlight The Ohio State University’s contribution to our understanding of Earth’s changing climate.

Curated by Jason Cervenec, Laura Kissel and Lynn Lay.

Special thanks to the Lincoln Ellsworth Foundation, the Kane Lodge Foundation and the Friends of the Byrd Polar and Climate Research Center for their generous financial support.

The post, Mysteries In Ice | Thompson Library Gallery | ArtCop21, appeared first on MELD.
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meld is an ongoing interactive global art platform and collaborative catalyst to commission, produce and present ground-breaking and evocative works of art embedded in the issues and consequences of climate change. meld invites exceptional artists and innovative thinkers dedicated to the moving image and committed to fostering awareness and education to join us in our campaign for social change. Through a collaborative dialogue, we hope to provoke new perceptions, broaden awareness and education and find creative solutions concerning climate change, its consequences and its solutions.

meld was formed by a devoted group of individuals guided by a passionate belief in the power of art to convey personal experience and cultivate social progress. meld is inspired by the idea that when art melds into the public realm, it has the power to reach people beyond the traditional limitations of class, age, race and education and encourage public action.

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Opportunity: Visual Artist Residency Programme

Creative Carbon Scotland, Open Calls

This post comes from Creative Carbon Scotland

Hospitalfield are offering two seasonal residencies for artists in the UK.

Summer Residency, July 2016

Application Deadline: January 25th

Residency Dates: July 4th-31st

The Summer Residency is a funded programme with 6 – 8 places available for UK or UK-based visual artists. Selected artists receive a bursary that supports them whilst they are working away from their home base.

Artists are invited to submit an application that describes a project, or their focus of work, whilst they are a participant in the programme.

This residency includes:

Programme of visits and discussion;

Full board catering;

24 access to studio space.

More information here

 

Autumn Residency, September 2016 

Application Deadline: January 25th

Residency Dates: September 5th-October 2nd

The Autumn Residency offers 5 places to UK and UK-based visual artists. Four artists will receive a £1000 Research & Development Bursary, and one will receive a £4000 Production Bursary.

Apply here

The post Opportunity: Visual Artist Residency Programme appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Culture & Sustainability International Intensive Summer Course in Thessaloniki

Conferences, Julie's Bicycle, Open Calls

5 – 10 June 2016 | Thessaloniki, Greece

The importance of tackling climate change and promoting environmental sustainability has been accepted at the highest levels of government, from the United Nations Framework Convention on Climate Change through to the EC’s European Climate Change Programme. In December 2015, a new international treaty on climate will be negotiated setting a path for the next decades to come.

There has been considerable interest and growing engagement around such issues in the cultural and creative industries. This has ranged from high-profile champions in fields such as film and music, attempts by leading businesses and cultural institutions to reduce their carbon footprint, environmental policies developed by funding and strategic bodies, and a plethora of artistic work engaging the public directly. These activities are generating demand for a “green” creative economy, and a supply chain is emerging that is helping to create the conditions for real systemic change.

The benefits of engaging with environmental sustainability within the arts and culture have been evidenced by research and include: 

  • Protecting the environment
  • Alignment between values and working practices
  • Efficiencies and savings
  • Getting ahead of regulation
  • New business models and audience development opportunities
  • New artistic approaches and modes of working
  • Collaboration and knowledge sharing
  • Better reputation
  • Improved wellbeing

Course duration:

Monday 5 – Friday 10 June 2016

(seminars and workshops from 09.30 to 18.00, daily)

Arrival of participants: Sunday 5 June 2016

Departure of participants: Saturday 11 June (or later)

Optional excursion on the weekend 11-12 June 2016.

Location:

Conference space in the campus of the Aristotle University of Thessaloniki

Thessaloniki, Greece

(precise location of venue to be announced)

Fees for participants

The course fees is 1,000 Euros. This covers the cost of the course, accommodation (single room, in 4* hotel), breakfast and lunch-pack per day.

This is not inclusive of travel costs to Thessaloniki, or any per diem compensation.

Institutions are encouraged to undertake the cost of fees and travel for applicants.

FULL INFORMATION

ORGANIZED BY:

mitos21julies bicycleμηχανολογοι

Associate Partners

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RFQ for 2016 Regional Sessions Partners and Hosts

Open Calls

The Mayors’ Institute on City Design is pleased to announce an opportunity for universities, design schools, and non-profit organizations to serve as partners for hosting the 2016 Regional Sessions of the Mayors’ Institute. Since 1986, over 1,000 mayors from all 50 states, the District of Columbia, and Puerto Rico have participated in the Mayors’ Institute on City Design.

Regional Sessions are hosted by universities, design schools, and non-profit organizations from around the country. MICD is currently seeking leading design institutions to host a select group of mayors and city design experts for the purpose of strengthening our nation’s communities. The Mayors’ Institute is accepting qualifications for institutions to host future institute sessions, including three Regional Sessions that will be held next fall.

Interested applicants should review the 2016 Request for Qualifications (RFQ) and are encouraged to contact MICD Director Trinity Simons prior to submitting an application. Sample budgets and agendas available upon request.

Applicants may submit qualification statements at any time before the submission deadline on Friday, January 29, 2016, 4:00 p.m. Eastern time. All materials must be submitted as a single PDF document and emailed to trinity@micd.org.