Open Calls

Residency for BILAPOC Speculative Fiction Writers

Open Call for Next Gulf South Writer in the Wood

Gulf South Writer in the Woods, a program of A Studio in the Woods and the New Orleans Center for the Gulf South, supports the creative work, scholarship and community engagement of writers examining the Gulf South region.

Specifically, this year we aim to support BILAPOC Speculative Fiction writers working in prose, poetry and stage/screenwriting. Special consideration will be given to southern voices, under-represented communities, and perspectives not often heard. Eligible writers must live in the Gulf South, be from/have heritage in the Gulf South, and/or write about the Gulf South.

The awardee will receive a stipend of $5,000, a 6-week residency at A Studio in the Woods over 18 months, Tulane University library access, and staff support from the presenting partners.

Deadline: January 8, 2021

Visit http://www.astudiointhewoods.org/event/open-call-for-next-gulf-south-writer-in-the-woods/ for more information and to apply online.

Contact info@astudiointhewoods.org with any questions.

Writers on Arts, Anthropology & Climate Change

ATAEC, Glocal Associative Network of Artists & Ecosocial Action, opens its doors to a space for reflexion and highlighting of topics related to Arts, Cultures, Resilience towards Climate Change and new communitarian models. 

We are creating a resilient community of artists on an international scale for common support, artistic encounters and a circular- autonomous economy model within the arts, cultural diversity, preservation and ecosocial actions.

The writings will be published at a time of one week, and as an exchange, the writers can access to a solidarity account on http://www.ataec.com

* all languages accepted.


What is ATAEC?

ATAEC it’s an Artists Network for Cultural Preservation & EcoSocial Action. BASED ON COLLECTIVE FUNDS. A worldwide data base of independent and collective artists, cultural organizations, galleries, art spaces, ancestral communities, or any kind of organization/ body that holds on ARTISTIC KNOWLEDGE & ACTIONS. 

Objectives

Artistic Synergies- Give & Receive Classes 

Collective Funds & Collaboration in Art & Ecosocial Action

Cultural Preservation

Networking

Giving ethnic, collective and autonomous support to art, circular economy models and diversity. 

How does it work?!

Very simple, according to your interests you can create your account/ profile, after three months of being part of the platform a 30€/1 year membership is asked to be payed in order to continue being part of the community.

The funds are collectivized at the Ecosocial Action Network.

You can apply for funds, filling up the form, you do not need any ¨special situation¨ in order to apply for funds, the projects must be related to: art, cultural preservation, climate change needs, food & water access.

Your projects can crowdfund thru the Collective Funds space.

Investors, donators, visionarys can choose to invest by project, type of action or territory.  

ECOSOCIAL ACTION 

A free and open space to co-create and finance communitarian action related to art, society & nature. Projects of artistic, ecological and social benefit can have their own profile with the calendar of actions and needs in order to get financial support and collaboration from the association and other users.

  • Art 
  • Cultural Preservation 
  • Climate Change Needs 
  • Food & Water access 

For more info on ATAEC

Open call for MUSTARINDA RESIDENCY

Working period: 1 – 2 months during
SPRING & SUMMER /// 15th January – 30th July 2021

Application deadline: 15th November 2021
We will inform all applicants about the selections by the end of November.

Due to the pandemic situation, the Open call for spring & summer 2021 is aimed at people from various fields residing in Finland and interested in Mustarinda’s themes.

Length of residency period is 1-2 months. As an exception the two last weeks of January suit very well for groups but also for single persons for an intensive work period. We consider important rich interactive, multidisciplinary, and interdisciplinary practices, and so Mustarinda fits well for practitioners widely from different fields. The applicant can be e.g. an artist, a worker from the culture field, a researcher, an educator, a journalist or a student etc. The Mustarinda Association reaches towards a post-fossil culture by combining scientific and artistic knowledge and experiential activity. The association aims to continually reduce its carbon footprint and impact on a local and global scale. We encourage travel to the residency by public or shared transportation.

Notice that during the corona-pandemic Mustarinda operates by following the official recommendations, therefore changes in the proceedings are possible.

More info

Seeking a (CO)LEAD EDITOR for CSPA QUARTERLY

The CSPA QUARTERLY is currently seeking a (Co) Lead Editor to work with our current Lead Editor in sustaining the publication and transitioning to eventually become a Lead Editor themselves. 

The CSPA Quarterly is a publication arm of the Centre for Sustainable Arts. It is meant to give a longer format and deeper space for exploration than some online platforms provide, and to reflect the myriad ways in which sustainability in the arts is discussed, approached and practiced. The publication features reviews, interviews, features, artist pages, essays, reflections and photos. It is a snapshot of a moment in time, a look at the many discussions in sustainability and the arts through the lens of a particular theme. It is part of a rigorous dialogue.

Our reach is wide: we want it to be wider.

We have more than 6,000  followers on social media, more than 1,500 subscribers to our email newsletter, our website receives 3,500-6,000 hits per month. Our CSPA Quarterly is accessed by institutions and  artists worldwide via JSTOR and other platforms. We are a crucial resource for artists and art organizations who are researching,  embodying, promoting and re-inventing sustainability. 

This Co-Lead Editor would work with us to:

  • Assist in developing an archival, digital publication of the CSPA Quarterly
  • Assist in developing and sustaining new income streams for the CSPA Quarterly
  • Plan issues for 2024 and beyond, assuming sole Lead Editorship in that year
  • Sustain the Quarterly and its continued relevance. 

This is a volunteer position. We know how that sounds. Currently, the CSPA works within a hybrid academic/commercial context, where the labor of editing and contributing is seen as an extension of academic research, and is therefore unpaid. It currently exists and functions  on systems of privilege, based on the income, time, and access of  its  organizers. That’s a problem we want to change. 

Our current income streams include:

  • Fees from publication access on JSTOR
  • University Grants 
  • Issue purchases on MagCloud
  • Subscriptions on Patreon

Right now, these incomes only cover Quarterly design costs. But we’d like to change that. We’re looking for someone to help us amplify our current efforts at generating revenue and supporting our contributors. We want to pay people. The Lead Editor position at the Quarterly has always been volunteer/unpaid, with contributors and Guest Editors receiving a free subscription for their work.

We’d like to build on our crucial work thus  far, and stand even more firmly at the nexus between academic and popular research in Sustainable Practice in the Arts. We’re seeking someone with resources that would enable them to engage in this work, and who could use those resources to expand our platform to those who do not have  such  access. We need someone who is passionate about our efforts, extending opportunities to others, and amplifying the fantastic work of the many artists engaging with sustainability on a cultural, ecological, social and economic level.  We hope that person is you. 

Please send letters of interest and a website or CV to editor@sustainablepractice.org

Open Call: Environmental Racism is Garbage

The aim of this interactive virtual research-creation and art symposium is to bear modest witness to waste as a symptom of environmental racism. At least one billion people live in over a quarter of a million slums worldwide, often with no formal waste or sanitation infrastructure or services (Davis 2007). And in economically affluent countries, landfills and other waste management systems are most often sited in or close to poor and racialized communities (for example, Amegah and Jaakkola 2016; Furedy 1993; Mothiba, Moja, and Loans 2017; Parizeau 2006) who bear a disproportionate burden of persistent exposure to the risks, hazards and contamination of pollution (Hird in press; Hird and Zahara 2016). 

Environmental Racism is Garbage seeks knowledge production and acts of resistance at the intersection of art, politics, and the relationship between racialized injustice and ecological crisis. We invite contributions and collaborations from visual and performance-based artists, curators, theorists and activists, to create submissions that engage with the interconnections between environmental health, socio-economic conditions, racialized discrimination, social justice. We are interested in new or recent work in any medium that could be displayed in a browser. Transdisciplinary work driven by creative inquiry and lived experience will be forefronted.

This virtual (web-based) symposium will be synchronous and asynchronous and feature artwork displayed in the browser as well as keynote speakers, discussion panels and other additions. The symposium will be archived on a dedicated website.

For more info and to submit


SUBMISSION REQUIREMENTS

  1. Project description and [technical] requirements for displaying (online), including artist/author statement (2 pages maximum).
  2. Supporting documentation: i.e. maximum 5 images, 1 (3 min or under) video clip or sound recording sample.
  3. Current CV (3 pages maximum) for all team members
  4. Artist/author/activist/curator/theorist biography for all team members (maximum 100 words each)

Please submit your work through this form by November 30, 2020. Submissions will be reviewed by a transdisciplinary panel including members of The Seedbox Consortium, Canada’s Waste Flow, and Queen’s University. 

Priority will be given to applicants who are Indigenous, Black, people of colour, women, LGBTQ2+, people with disabilities, and/or are members of other equity-seeking groups.

Each project selected will receive a payment of $1000 CAD and another $500 CAD per additional artist, for a total of up to $2000 CAD per submission. Project Fees will be paid after completion of the symposium. Details of the post-symposium publication to follow.

Submit

Wassaic Project 2021 Summer Exhibition and Publication Open Call

Application Deadline: November 16, 2020

Link to Apply: https://wassaicproject.slideroom.com/#/permalink/program/57671

The Wassaic Project is currently holding our annual Open Call for our 2021 Summer Exhibition and publication for artists of all mediums — including 2D, sculpture, video, new media, site-specific installation, performance, text, poems, essays, publication-specific work. If selected, your work will be showcased alongside a diverse range of pieces and performances in and around historic Maxon Mills, as well as in a printed publication. Ideally, the Wassaic Project’s 2021 Summer Exhibition will be free and open to the public every weekend from May 22 through September 18, 2021. If it is not safe to host a physical exhibition due to COVID-19, the work in the show will still appear online and in print. 

Artists interested in creating a site-specific installation for the 2021 Summer Exhibition are also eligible for an Exhibitions Fellowship to help realize their work. Up to five fellows will be offered a no-fee residency between either April 12–26, 2021 or May 3–31, 2021, and will be considered full participants in our residency program. Artists interested in making site-specific work for the exhibition should still apply regardless of whether or not they are interested in or able to be in residence in April or May. 

The Wassaic Project cultivates and supports community for emerging and professional contemporary artists, writers and other creatives. Housed in historic, landmark buildings, the residency program offers 10 artists each month the opportunity to live and work in the heart of a rural community. The Wassaic Project seeks artists working in a diverse range of media who want to produce, explore, challenge, and expand on their current art-making practices, while participating in a community-based arts organization. 

For more information: https://www.wassaicproject.org/artists/summer-exhibition-faq

Ecostage – CASE STUDY CALL OUT

Ecostage is looking for 3 ecological minded professionals who would be interested in writing a case study of one performing arts project relating to the Ecostage principles to help the volunteers build global wholesome content for the website.

🌻🌻🌻Sustainability, Wellbeing, Respect, Collaboration, Responsibility, Integrity, Forward Thinking 🌻🌻🌻

To keep all voices in the discussion, we are particularly interested to hear from non white, LGBTQ+, non designer (we already have 2!) and/or outside of the uk people. You can be in any level of career and type of role (technician, director, performer, production manager, etc).

You can find a case study example on the website holding page for the questions that’ll need answering www.ecostage.online

As we are a volunteer initiative, this is done on a volunteer basis to help the volunteers build global wholesome content for the website.

Please share with your contacts who would be interested. Get in touch at ecostage.online@gmail.com for any questions, thanks!

The Ecostage team 🌱🌻

@ecostage1  @ecostage.online  @eco.stage  @ecostage.online

Call for Chapter Contributions: Routledge Handbook of the Digital Environmental Humanities

Type: Call for Papers
Texas,
Date: January 1, 2021

Subject Fields: Cultural History / Studies, Digital Humanities, Educational Technology, Environmental History / Studies, History of Science, Medicine, and Technology

Call for Chapter Contributions
Routledge Handbook of the Digital Environmental Humanities

Editors:
Luke Bergmann, Arlene Crampsie, Deborah Dixon, Steven Hartman, Robert Legg, Francis Ludlow, Charles Travis

Abstract Submission / Expression of Interests Deadline:  1 January 2021

Precis

Scholars in the emerging field of digital environmental humanities (DEH) observe that  “the idea of nature is becoming very hard to separate from the digital tools and media we use to observe, interpret, and manage it.”[1] The ‘digital turn’ of the last quarter century, and the existential threat of climate change are converging and forcing our species to “reorient  . . . profoundly in relation to the world, to one another, and to ourselves.”[2]Whilst external environments are roiling due to global warming and socio-political conflict, the inner “saturation of our intimate and physical lives by digital, wireless, and virtual technologies,”[3] are causing adaptations on personal, regional, social, theoretical, technological, and ideological scales. 

Our ideas, our standards, for what is natural are distributed and maintained in digital tools and media like databases, computer models, geographical information systems and so on.”[4]  Though an automation predicated on algorithms has become the touchstone for thinking about the future of privacy and consent, issues around data colonialism, data hacking and Lo-TEK point to complicated, ongoing social inequalities in terms of access and inclusion, as well as the resilience and future-facing nature of a range of environmental aesthetics. 

Employing historical, philosophical, linguistic, arts practice-based, literary and cultural lenses, DEH has/have confluences with fields that foreground earthly processes and forms (environmental humanities), interrogate technological apparatus, techniques and framings (digital humanities) and draw out shifting biological, neurological and psychological strata that subtend a ‘human’ being (medical humanities).  Ontologically and epistemologically, the concept of the DEH raises a few pertinent questions:

  • What new objects, relations, capacities and affects are being located and marked for analysis? 
  • What kinds of data are being foregrounded as objects of analysis and as the bases of  empirical findings? 
  • What techniques are being brought to bear, for what purpose and with what import? 
  • And what kinds and forms of story-telling are being undertaken, by what kinds of actors, with what agencies, and for what audiences, users, and communities of interest and practice?

In addition,  humanities, scientific, artistic, geographical, cartographical, informatic and computing disciplines are finding a common space in DEH, and are bringing the use of digital applications, coding and software into league with literary and cultural studies, feminist, queer and critical race studies, and the visual, filmic and performing arts.  As such, DEH is empirically, critically and ethically engaged in exploring digitally mediated, visualized, and parsed framings of past, present and future environments, landscapes and cultures, as well as the ways in which these operate to produce scale, from the intimate and personal to the global and planetary.  Conceptualizations such as PlantationoceneCapitaloceneChthuluceneAnthropo-sceneAnthropobscene, and so on provide alternate framings of ecological and social collapse, loss and extinction, that emphasize the specific time-space emergence of crises, a diversity of lived experiences across the globe, and the work of words (images and graphs) as analytic formulations as well as descriptors. 

Call for Chapters

This volume, edited by human, physical,  and critical geographers, geomaticians, GIScientists, and literary, digital and environmental humanities scholars, aims to help produce a capacious, eclectic space of knowledge on DEH.

We are calling for chapter contributions from researchers in the arts, humanities and sciences, scholars in commensurate fields,  practitioners and professionals, artists, activists, poets, filmmakers and storytellers who engage the environment and the digital and are situated or situate their work in the Global South and Global North (terrestrially and subterraneous) the Oceans, the Arctic, Antarctica (surface and benthic), the Atmosphere and its layers, the Moon, Solar System, Interstellar space and Galaxies beyond. 

We seek chapters on the DEH engagements, practices, pedagogies and applied cases that facilitate trans-disciplinary encounters between fields as diverse as human cognition, and gaming, bioinformatics and linguistics, social media, literature and history, music, geography, geosciences, anthropology, archaeology, painting, philology, philosophy and the earth and environmental sciences.  Potential themes: mediations/ remediationsreflectionsexperiencesdelvingscontestationschallengespraxes,  and pedagogiesPotential subjects (contributors may suggest their own as well): 

  • Applied DEH studies.
  • Art-historical questions, geographic concepts, and digital methods.
  • Aural and visual exhibits, performances.
  • Atmosphere.
  • Big data, longue durée, geographical history. 
  • Climate histories-historiographies.
  • Cyborgs, biologies, environments.
  • Cities, sub-urbs.
  • COVID-19 Pandemic Digital Ecologies
  • DEH activisms.
  • DEH critiques / critiques of DEH.
  • DEH colonizations / decolonizations.
  • DEH facilitating knowledge production in novel transdisciplinary constellations.
  • DEH guides, tools / theories / techniques.
  • DEH hacking.
  • DEH identities, genders, sexualities, networks.
  • DEH pedagogies.
  • DEH and the earth and environmental sciences.
  • DEH storytelling.
  • Digital food production, transportation, consumption geographies.
  • Digital performances, remediations of place.
  • Digital recovery of texts, objects, and traces of human experience thought long since lost to time. 
  • Digital watersheds, riverines, oceanic and benthic systems.
  • Dynamic digital platforms for integrated environmental humanities data management, analysis, synthesis and knowledge dissemination.
  • E-Epidemiology.
  • Film and cinematic approaches.
  • GIS, Geoinformatics, R, Neogeography.
  • Graphesis / counter-visualizations.
  • Open-Source DEH.
  • Indigenous Studies (Indigital).
  • Posthuman landscapes, environments, atmospheres, waters, extra-terrestrial spaces.
  • Resource extraction.
  • Small data and capta.
  • Your own idea here:______________.

Publication Schedule:

1 January 2021, Submission of Abstracts

15 February 2021, Response of Editors to Authors

1 May 2021, Submission of Draft Chapters by Authors

1 June 2021, Editorial Comments / Revision Suggestions Returned to Authors

1 August 2021, Final Submission of Chapters by Authors

1 September 2021, Submission of  DEH Handbook to Routledge

Submission Instructions: 

Listed below are the names and emails of the editors of the Routledge Handbook of the DEH. You may submit your abstract / expression of interest to any one of the editors based upon mutual interests or preference.  Please submit an abstract, or expression of interest, describing the subject of your chapter contribution by 1 January 2021.

Editors:

Sources


[1] Finn Arne Jørgensen. 2014. “The Armchair Traveler’s Guide to Digital Environmental Humanities.” Environmental Humanities 4: 95-112.

[2] Diana Coole and Samantha Frost. 2010.  “Introducing the new materialisms.” New materialisms: Ontology, agency, and politics: 1-43. 

[3] Ibid.

[4] Jørgensen, The Armchair Traveler’s Guide to Digital Environmental Humanities. 109.Contact Info: 

Contact Email: ctravis@tcd.ie

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 tpdjournal@arts.ac.uk 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.
———-

Ecoscenography.com 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 www.tanjabeer.com

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…  https://joya-air.org/centre/
Accommodation is bright, warm and clean with wood heated radiant floors. More images… https://joya-air.org/centre/

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.

DISCIPLINES AND MEDIA:

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

TYPE OF ORGANISATION:

Independent not for profit association/foundation

APPLICATION:

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

RESIDENCY PERIOD:

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.

NEXT APPLICATION DEADLINE:

MONDAY THE 20TH OF JULY 2020

RESIDENCY PERIOD:

1ST SEPTEMBER – 30TH NOVEMBER 2020

FEE:

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.

TERMS & CONDITIONS:

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).

APPLY

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.

APPLY HERE