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.

National Museum of Marine Science & Technology / Keelung City Government

2016 International Marine Environment Art Project in Keelung, Taiwan

“Envisioning the Future of Our Oceans”

Artists from all countries are invited to send a proposal for a site-specific outdoor sculpture installation that will raise awareness about the future health of our oceans, and in particular relate to the Badouzi community of Keelung City, Taiwan.  Badouzi is located at the port of Keelung, celebrating its 130th year in 2016.  Keelung Port is on the northeast coast of Taiwan and opens to the Pacific Ocean.  Badouzi is a fishing village where most of the people traditionally make their living from the sea. The port of Keelung, first officially established in 1886, grew to become the second largest port in Taiwan today, and it is the major port on the eastern side of Taiwan. The Eastern coast of Taiwan remains greener and less urbanized even in this time of ocean acidification, global warming and increasing pollution.  By striving to reverse current conditions and improve the ocean environment, we hope to preserve the future health of our oceans that are at the heart of life on earth. The NMMST is a newly opened museum with exhibitions and programs about marine science and technology and a popular tourist destination in Keelung, Taiwan. Here’s the museum website: National Museum of Marine Science & Technology (NMMST) http://www.nmmst.gov.tw/enhtml/index

The artists selected for this art project will create their artworks during a 25-day artist in residency in Keelung, Taiwan, from May 12 – June 6, 2016.  We expect to select 6 foreign artists and 2 Taiwanese artists based on the proposals received.  2016 will be the 2nd year of this marine environment art project that is organized by the NMMST and supported with community development and economic improvement funds from national and local government.  The selected artists will work with community residents, visitors and volunteers to create large-scale outdoor sculpture installations that will raise awareness about ocean environmental issues, develop community pride, and attract more visitors to the area. For 2016 the artworks will be about celebrating the port of Keelung and preserving the future health of the world’s oceans.

Artworks selected for this project will be site-specific and located in public outdoor spaces such as coastal parks, plazas, beaches, land around existing museum buildings or other sites selected with the artists, the curator and staff of the Museum. The artworks should encourage learning by doing and be interactive in some way; for example the artwork could function as a play area or outdoor seating or have interactive educational components.  The sculpture installations will be made with local natural materials or recycled materials that are sustainable and not harmful to the environment. The artworks should be made to last for one year or more, but be biodegradable so that they can decompose over time and be recycled into the environment. Artists will work alongside the other international artists and with local residents and visitors in Keelung, Taiwan.

Theme: Envisioning the Future of our Oceans

Deadline for Entries:  Feb. 15, 2016

Artists will be selected and notified by March 15, 2016

Installation and Residency in Keelung, Taiwan: May 12, 2016 (artists arrive) – June 6, 2016 (artists depart)

Dates of the Exhibition: June 5, 2016 (opening ceremony); June 4 and 5, 2016 (Opening weekend activities with the artists). The exhibition will stay on display until September 2016, and the artworks can continue to be enjoyed into the next year.

Selected Artists will receive the following:

• Artist’s Award of NT$60,000 (about US$2,000) for creating the artwork and participating in the public programs and working with community residents, volunteers and visitors.  The Museum will cover the tax to the Taiwan government, and artists will receive the exact amount of NT$60,000. Taiwanese artists will also receive NT$60,000 for the Award and pay their own income tax and NHI (national health insurance).
• Round trip economy airfare from the artist’s home to Taipei (Taoyuan International Airport) and then local transportation to Keelung, Taiwan. Taiwanese artists will receive train fare or other reimbursement for their expenses to come from their home to Keelung.  Detailed travel instructions will be sent to selected artists, and artists must get the approval of the curator before booking tickets and keep all receipts and boarding pass for reimbursement when they arrive in Keelung. Reimbursement will be in Taiwanese dollars calculated at the exchange rate on the date that the artist purchased the ticket. (Without the expense of visa, passport application, travel insurance and additional transport costs)
• 25 days of accommodations in Keelung with other international and Taiwanese artists. Each artist will have a separate bedroom, and bathroom, kitchen and living room space may be shared.
• Meals will be provided for breakfast, lunch and dinner, and more information about meals will be sent to the selected artists.
• Local transportation around Keelung and to scheduled site-seeing trips with the artists and volunteers will be provided.
• Volunteer help from school children and adults in the community as well as museum visitors to create the artworks. We also plan to have at least one adult volunteer to help each artist for the entire residency period.  This adult volunteer will be able to speak English and Chinese.  However, artists should be confident that they can make the proposed artwork by themselves.
• Help to find local free natural and biodegradable materials to make the artworks.  Local natural materials include driftwood, shells, reeds, grasses, branches, stones, earth, sand, etc.  Other possible biodegradable materials include natural rope, nets, natural fiber fabric, bamboo (it does not grow so much around Keelung but can be purchased) and wood. Artists should use only natural and biodegradable materials and eco friendly processes that will not harm the environment and encourage sustainability. Artists who need to purchase materials to make their artwork must consult with the curator about cost and availability in Keelung. The materials and processes that artists use should set a good example for the community, and we expect that artists will use mainly free natural and recycled materials.

Qualifications of Artists:

Artists who apply should have experience working with communities to create large scale site-specific outdoor sculpture installations in public settings and involve ordinary people in their thoughts and process. The artists should also have an interest and experience in making outdoor works related to ocean environmental issues. The selected artists should be able to speak English and be able to get along well with other artists, the local community and people of all ages and backgrounds. The selected artists should also be able to introduce their home culture to the community and share the environmental concerns in their own home environment.

Curator of the Exhibition:

Jane Ingram Allen, is an American independent curator, artist and critic, living in Taiwan from 2004 – 2012, and now based in California, USA. Jane first came to Taiwan as a Fulbright Scholar artist in residence in 2004 and 2005 and worked as an independent artist and curator from 2006-2012, starting the Guandu International Outdoor Sculpture Festival at Guandu Nature Park in Taipei in 2006 and the Cheng Long Wetlands International Environmental Art Project in Cheng Long village, Yunlin County, Taiwan in 2010. Jane will work with the staff of the NMMST and a community advisory committee to administer and coordinate all aspects of this project, including the selection of artists and supervising the art installations and public programs related to the art project. Jane has experience curating international art exhibitions and working with public art projects in communities around the world as well as being an art professor at colleges and universities and a curator and educator at museums and art centers. Jane is an environmental artist herself and has participated in many international artist-in-residency programs in the USA, Taiwan, Japan, Brazil, Tanzania, China, Indonesia, Nepal and Turkey.  She has also curated several other environmental art exhibitions in Taiwan and the USA and writes about art for such magazines as SCULPTURE, PUBLIC ART REVIEW, ART RADAR ASIA, FIBER ART NOW and HAND PAPERMAKING.

To Apply:

Send the following in English by email to Jane Ingram Allen by the deadline of February 15, 2016, at this address: nmmstartproject@gmail.com

Proposals in Chinese may be sent to Ms. Sandy Chang at this address: b98105008@gmail.com

1. Description of a proposed sculpture installation for the 2016 NMMST International Marine Environment Art Project (limit one page), sent as an attached .doc or .pdf file. Include dimensions and materials to be used in the proposed work.
2. Artist Statement about your interest and experience working with communities and volunteers to create large-scale and interactive outdoor sculpture and installation artworks and about how your proposed artwork relates to the theme of preserving the health of our oceans (limit one page), sent as an attached .doc or .pdf file.
3. Sketch or rendering of your proposed artwork (attached .jpg file of less than 1 MB)
4. 6 images of previous related works (6 attached .jpg files of less than 1 MB each)
5. Image list to give details about the 6 images. Include title of work, date made, materials used and location of the artwork (sent as an attached .doc file or .pdf file)
6. CV or Resume in English (attached .doc or .pdf file) that details your education and art experience, awards and exhibitions. Be sure to include your name, present address and nationality.

NOTE:  Each of these 6 items should be sent as individual files attached to email.  DO NOT use Zip files or include them all in one .pdf or .doc file.

FULL INFO:

http://artproject2015.nmmst.gov.tw/en.html

http://www.nmmst.gov.tw/enhtml/newsdetail/363/1/2730

Call for Proposals: 2016 Cheng Long Wetlands International Environmental Art Project

Yunlin County, Taiwan

 “Meet the Future in Cheng Long:  The Next 30 Years”

Artists from all countries are invited to send a proposal for a site-specific outdoor sculpture installation that will raise public awareness about global warming and land sinking around the world and address what we want our environment to be for the future. 2016 is the 30^th year since farmlands in Cheng Long village were covered by water and became the Cheng Long Wetlands nature preserve.  This situation we met in Cheng Long 30 years ago might happen anywhere in the world due to global warming and climate change and continued human neglect and mistakes. 30 years ago when Typhoon Wayne came and the wetlands were formed, the people had no choice.  Now we can think more about what we want for the future and take steps to improve the environment with such changes as sustainable living, carbon reduction and environmentally friendly industry.

Cheng Long is in a low-lying coastal area, and the land in Cheng Long sinks more each year due to over pumping of the underground aquifer, increasingly severe typhoons and rising water levels caused by global warming. The Cheng Long Wetlands provide a great home for many different species of wildlife, including about 120 species of wild birds and many other unique creatures and plants. The wetlands are also valuable as a place for learning, recreation and aesthetic enrichment as well as international cultural exchange activities such as the annual international environmental art project. Wetlands also provide many ecological benefits such as water purification, flood protection, erosion control and shoreline stabilization as well as commercial benefits from fish and shellfish production and increased tourism. The artworks in 2016 should relate to environmental issues in Cheng Long, a small village near the southwest coast of Taiwan, and encourage people to think about the next 30 years and what they would like to see happen for the future.

The artists selected for this art project will create large-scale outdoor public artworks during a 25-day artist in residency in Cheng Long village, Yunlin County, Taiwan.  For this 7^th year of the Cheng Long International Environmental Art Project, we expect to select 5 artists (including at least 1 Taiwanese artist) based on the proposals received. This environmental art project is organized by the Kuan Shu Educational Foundation as part of their ongoing environmental education program in Cheng Long village with the Taiwan Forestry Bureau. The selected artists will work with elementary school students at Cheng Long Elementary School (a small village school with about 66 students in grades 1 – 6) and community residents, visitors and volunteers to create large-scale sculpture installations that will raise awareness about environmental issues and help develop community pride and promote environmental education.

In 2016 the artworks will be sited in the wetlands nature preserve area of Cheng Long Wetlands, a sunken land area mostly covered by water, part salty and part fresh water, and now a nature preserve that is home to many birds, fish and other wildlife. Artists making proposals should visit the Blog at http://artproject4wetland.wordpress.com to see possible sites for the outdoor sculpture installations in 2016 as well as look at previous year’s artworks. The final selection of the site for each proposed artwork will be made with the artists and the approval of the curator and organizers. Artists are required to use natural and biodegradable materials and environmentally friendly processes that encourage sustainability and preserving and improving the environment. The artworks should last for one year or more, but they should be biodegradable so that they can decompose over time and be left to recycle naturally and enhance the environment of the wetlands. Artists will work alongside other international artists and Taiwanese artists and with local children and volunteers in Cheng Long village.

Deadline for Entries: January 15, 2016

Artists will be selected and notified by February 18, 2016

Installation and Residency in Cheng Long, Taiwan: Thursday, April 7 (artists arrive) – Monday, May 2, 2016 (artists depart)

Dates of the Exhibition: April 29, 2016 (opening ceremony), April 30 and May 1, 2016 (Opening weekend activities with the artists).  The exhibition will be on display through March 2017, and the artworks may continue to be enjoyed into the next years.

Selected Artists will receive the following:

• Artist’s Award of NT$60,000 (about US$2,000) for creating the artwork and participating as an artist in the public programs and working with community school children, residents, volunteers and visitors.
• Round trip economy airfare from the artist’s home to Taipei (Taoyuan International Airport). Artists must pay their own train fare (approx. US$35) to Yunlin High Speed Rail Station where the artists will be picked up and brought by car to Cheng Long Village. Detailed travel instructions will be sent to selected artists, and artists must get the approval of the curator before booking tickets and keep all receipts for reimbursement when they arrive in Cheng Long.
• 25 days of accommodations and meals in Cheng Long with other international and Taiwanese artists. Each artist will have a separate bedroom, but bathrooms and living areas may be shared. Breakfast and dinner will be provided at the accommodations, and artists will eat lunch at the elementary school. Some group dinners will also be provided.
• Local transportation to scheduled site-seeing trips with the artists and volunteers will be provided. Bicycles will be provided for the artists to use around the local area if they wish.
• Volunteer help from school children and adults in the community and one adult volunteer to help each artist for the entire residency period. This adult volunteer will be able to speak English and Chinese. However, artists should have confidence that they can finish their proposed artwork on their own.
• Help to find local natural, biodegradable and recycled materials to make the artworks. Local natural materials include shells, reeds, grasses, bamboo, driftwood, branches, earth, sand, etc.  Other possible biodegradable materials include natural rope, nets, natural fiber fabric, wood and other recycled materials.  Artists who need to purchase materials to make their artwork must consult with the curator, and pay for this from their own artists’ Award.  We hope that artists will use mostly free recycled and available natural materials.

Qualifications of Artists:

Artists who apply should have experience working with children and communities to create large scale site-specific outdoor sculpture installations in public settings and involve ordinary people in their thoughts and process. The artists should also have an interest in environmental issues related to wetlands. The selected artists should be able to speak English and be able to get along well with other artists, the local community and people of all ages and backgrounds. The selected artists should also be able to introduce their home culture to the community and share the environmental concerns of their own part of the world. We plan to select 5 artists total for 2016; at least 1 artist will be from Taiwan.

Curator of the Exhibition:

Jane Ingram Allen, is an American independent curator, artist and critic, living in Taiwan from 2004 – 2012, and now based in California, USA. Jane first came to Taiwan as a Fulbright Scholar artist in residence in 2004 and 2005 and worked as an independent artist and curator in Taiwan from 2006-2012, starting the Guandu International Outdoor Sculpture Festival at Guandu Nature Park in Taipei in 2006 and the Cheng Long Wetlands International Environmental Art Project in Cheng Long village, Yunlin County, Taiwan in 2010 as well as the National Museum of Marine Science & Technology Environmental Art Project in Keelung, Taiwan in 2015. For the Cheng Long art project Jane works with the staff of the Kuan Shu Educational Foundation and a community advisory committee of teachers, government leaders and community people to administer and coordinate all aspects of this project, including the selection of artists and supervising the art installations and public programs related to the art project. Jane has experience curating international art exhibitions and working with public art projects in communities around the world as well as being an art professor at colleges and universities and a curator and educator at museums and art centers. Jane is an environmental artist herself and has participated in many international artist-in-residency programs in the USA, Taiwan, Japan, Brazil, Tanzania, China, Indonesia, and Nepal.  She has also curated several other environmental art exhibitions in Taiwan and the USA and writes about art for such magazines as SCULPTURE, PUBLIC ART REVIEW, ART RADAR ASIA, FIBER ART NOW and HAND PAPERMAKING.

To Apply:

Send the following in English by email to Jane Ingram Allen before the deadline of January 15, 2016, at this address: allenrebeccajanei@gmail.com

Proposals in Chinese may be sent to Ms. Chao-Mei Wang, chenglong.artproject@gmail.com before the January 15, 2016 deadline.

1. Description of a proposed sculpture installation for the 2016 Cheng Long Wetlands International Environmental Art Project (limit one page), sent as an attached .doc or .pdf file. Include dimensions and materials to be used in the proposed work.
2. Artist Statement about your interest and experience working with communities, volunteers and children to create sculpture and installation art projects. Also in the statement, tell how your proposed work relates to the theme of global warming and sinking land, and be sure to tell how you will involve the Cheng Long Elementary School children in your artwork. The statement should be limited to one page and sent as an attached .doc or .pdf file.
3. Sketch or rendering of your proposed artwork (attached .jpg file of less than 1 MB)
4. 6 images of previous related works (6 attached .jpg files of less than 1 MB each)
5. Image list with details about the 6 images. Include title of work, date made, materials used, dimensions, and location of the artwork (attached .doc file or .pdf file)
6. CV or Resume in English (attached .doc or .pdf file) that details your education and art experience, awards and exhibitions and any international experience. Be sure to include your name, present address and nationality.

IMPORTANT NOTE:  All 6 required items should be sent as separate attached files by email.  Do not put all files into 1 .pdf or .doc file, and do not use a Zip file.

To whom it may concern,

This is something a little different than a submission call, we are seeking help with a research project.

We (Joa&P) and the Llano del Rio Collective are collaborating on a project charting concrete and abstract ecological relations that people operate within to address, bolster and alter (through creative work) their relationships to a changing world. The project will use the metaphors of geology to add to a conversation about what it is to live, create, and challenge our changing world. We aim to locate these tectonics and humors, and identify the characters of forces working to sustain and reshape our ecological world.

In a country like France, where radioactive clouds stop at the border and where we aren’t afraid to build a cancer research center on the former site of a nitrogen fertilizer factory that has been condemned by the EU’s industrial safety agency, we should count less on “natural” crises than on social ones. It is usually up to the social movements to interrupt the normal course of the disaster.
-The Invisible Committee, The Coming Insurrection

When it is necessary to change an automobile tire, open an abscess or plow a vineyard, it is easy to imagine a quite limited operation. The elements on which the action is brought to bear are not completely isolated from the rest of the world, but it is possible to act on them as if they were: One can complete the operation without once needing to consider the whole, of which the tire, the abscess or the vineyard is nevertheless an integral part.
– Georges Bataille, The Accursed Share

Dogs are about the inescapable, contradictory story of relationships- co-constitutive relationships in which none of the partners pre-exist the relating, and the relating is never done once and for all. Historical specificity and contingent mutability all the way down, into nature and culture, into naturecultures. There is no contingent mutability rule all the way down, into nature and culture, into natureculture. There is no foundation; there are only elephants supporting elephants all the way down.
-Donna Haraway, The Companion Species Manifesto

Life is built on relations. Climate change dramatically alters the terms of these relations. Action and creativity alter these relationships to end harmful patterns and facilitate the emergence of more healthy ecological relations; between people, between individuals and natural systems, and between humans and the economies they exist within.

The Project

We are interested in sighting these emerging creative practices and actions.

Toward this effort we are hoping to survey the land to create a guide to the humors working today. Whether you’re creating projects that change the perception or alter our dependence on oil, reframe our relationship to extractive technology and the abstraction of resources, re-network the material and emotional routes against and beyond oil-time, or explore the metaphors of energy itself, we’d love to hear from you.

The Climate Change/Change the Climate guide will be a practical and projective resource for individuals looking for ways to plug-in to a biological struggle.

Please send us simply:

1. the name of your project
2. The location where your work functions.
3. website or online reference to the project
4. A simple description (one paragraph tops please!) of what you are doing.

All submissions will be considered for inclusion in this guide.<

Deadline and mailing
Please mail it to us by February 1st, 2016
Mail to editors(at)joaap.org

Warmest Regards, In Cahoots…

(ps. As Climate Games says, “We are nature defending itself)

(pps. we’ve also really been digging Jason W. Moore, Frans Fanon, Amaia Pérez Orozco, Eduardo Viveiros de Castro, Montse Galseran for the ideas we’ve been thinking through on this… and many more.)

The Art-Eco Project is pleased to announce a call for proposals for a peer-reviewed, edited book project on art and EcoJustice. The collection of articles from various authors will enlighten different ways of studying, supporting, and sharing the themes of socio-ecological issues through artistic practice.

The principal aim of EcoJustice thinking is to understand the essential interdependence among humans and with the more than human world. It is crucial to acknowledge the fact that we are mutually responsible to and dependent on others. Any assumption that we are superior to or outside this interdependence will cause damage.

EcoJustice work (teaching, scholarship and art) thus works along three interrelated strands of analysis: 1) The first involves an understanding that the present problems of ecological and social violence are rooted in the deep cultural assumptions underlying modernity. Our taken-for-granted value-hierarchized worldview, including anthropocentrism, linear thinking, individualism, science based rationalism and instrumentalism, has to be challenged in order to change the course of action towards regarding all life as equally valuable. 2) The second strand is focused on identifying those patterns of belief and behavior that lead to mutual care and the protection of more sustainable ways of life both within modern societies and traditional indigenous communities. We name this process revitalizing the commons. 3) The third strand argues for imagination as an important means of engaging the forms of responsibility needed to generate healthy communities. As Wendell Berry has written, “for humans to have a responsible relationship to the world, they must imagine their places in it” (2012, p. 15). We must, that is, imagine that it is possible to live ethically on this earth and what that could look like.

This book will be organized to explore how artistic practice intersects with and informs this EcoJustice framework. We recognize that this is an interdisciplinary field with many diverse entry points. Scholars draw from a range of philosophical and social theoretical view points—post structuralism, phenomenology, post-humanism, feminist theory, queer theory, new materialism, for example—as well as artistic practices—culture jamming, environmental art, improvisation, participatory art, community dance, documentary theatre, just to name a few. And we ask questions about what the intersection of these theories and practices could mean for education.

We thus invite essays that explore intersections among art practice and the EcoJustice framework. Essays could focus on (but are not limited to) the following:

• empathy, compassion and art
• performing identities and differences (race, gender, sexuality, ability, etc.)
• imagination and transformation
• time and space-based art
• indigenous or place-based knowledge and understanding
• immaterial art and consumerism
• environmental art as activism
• street art and the property of place

Specific Guidelines: Proposals should be approximately 500 words and include a brief abstract of 100 words. Include a brief bibliography. Priority will be given to those works that make clear their connection to the EcoJustice framework.

Deadline for proposals is Feb 29th 2016.

Please send your proposal (in file format .doc or .pdf) to raisa.foster@artecoproject.com.

The book is edited by Raisa Foster, Ph.D. (research director, Art-Eco Project), Jussi Mäkelä (researcher, Art-Eco Project) and Rebecca Martusewicz, Ed.D. (Eastern Michigan University).

AEJE_call for proposals (pdf)

“Metsäesitys”, Theatre Academy of the University of the Arts Helsinki 2015. Photo: Antti Ahonen.

MA in Ecology and Contemporary Performance (MAECP) is a two-year pilot of a master’s degree programme, which studies questions in ecology and performance in the era of ecological crises through a multidisciplinary and transdisciplinary approach. It starts on August 2016 and admissions are held on spring 2016.

MAECP focuses on performance in the current era of ecological crisis. It investigates different forms of performance, their methodology and theoretical bases in the borderland of science and the arts. Its aim is to develop co-operation, interaction and methods of performance, as well as develop the foundation and practices of work that transcend the borders between art and science. In this manner it strives to respond to the challenges posed by the ecological crisis that will affect all species.

The structure of the program aims to enable collaboration and dialogue on various levels: between the students, between the students and the teachers/mentors, as well as between various degree programmes, academies and artistic and scientific communities. It also supports intensive and extensive collaboration and networking with artists and other professionals, both in Finland and abroad.

How to apply?

We are looking for 6 – 8 artists from all over the world, who are willing to undertake new research in the emerging and combined fields of ecology and contemporary performance.

Next application period is 8 January-27 January 2016.

Selection criteria:
http://www.uniarts.fi/sites/default/files/MAECP-2016.pdf

MAECP homepage:
https://www.uniarts.fi/en/maecp

Application and admissions:
http://www.uniarts.fi/en/apply-to-theatre-academy

University of the Arts Helsinki

MAECP is a Helsinki-based master’s degree programme pilot. It is a part of University of the Arts Helsinki’s curriculum in 2016-2018.

This new university was launched in 2013 upon the merging of the Finnish Academy of Fine Arts, Sibelius Academy, and Theatre Academy Helsinki. The university now comprises the three academies, which offer a lively and innovative platform for studying performing arts. Helsinki is a vibrant city with a large population of international students attending several local universities, and anincreasing population of economic migrants and refugees. Situated on the Baltic Sea, the city is surrounded by forests, islands, wetlands, fractal coastlines. English is now  widely spoken along with Finnish and Swedish, and several other languages.

www.uniarts.fi/en

APPLY NOW to be artist in residence.

We are seeking three artists to take part in a new form of arts residency, offering access to a network of climate change researchers across the UK. Each residency includes an award of £10,000.

We welcome applications from individuals and collectives from any artform to work on new creative projects engaging with scenarios of climate change.

This project, sets out to test the idea of ‘networked residencies’. Climate research has long relied on networked collaborations rather than individual, geographically-located centres.

Through these residencies, you will be able to research the issue of climate and spend time exploring and developing your own artistic practice. In this way we hope you will introduce a new cultural depth to public conversations around future scenarios.

Applications for this residency are made by submitting the attached form by Monday 15 February, 2016, 5pm. The residencies will take place between June 2016 and May 2017.

Before applying, please ensure you have read the background information document which describes the project in more detail and sets out some terms and conditions. There are contact details on there should you have any further questions.

Download background information PDF

Download application form PDF