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Open call for artists (2 spaces available) Residency period (3 weeks minimum): between 25th November 2023 and 25th April 2024
Deadline for applications for November/December: 20th November for January/April: 31st December
Artists, theorists, writers, translators, cultural workers, art professionals & enthusiasts are welcome to apply for a residency programme at our Belgrade studio between November and April. The residency is self-funded, flexible and self-directed/ you can start a project, continue an existing one, do a custom research or mingle and get to know the art scene of Belgrade. Footnote centre is a community-oriented space with a strong emphasis on books, zines and self-publishing, but all other creative pursuits are welcomed and supported.
The open call for a residency is aimed at artists at any stage of their careers who want to spend a period of time living and working in Belgrade, Serbia. Our Centre offers a calm place to live and work and a professional support in different areas of visual arts. Footnote Centre is an independent artist-run studio and a community centre situated in Belgrade. It is imagined as a space of encounters of different art practices with focus on visual arts, publishing, photography and text, curating, moving image as well as on different and informal educational formats and collaborations between individual art workers, artist collectives and cultural institutions.
Footnote centre is located in the historical part of Belgrade, near Slavija square. It is situated in a large salon apartment of 100 sqm, consisting of 2 private (residential) rooms, common studio with a library, kitchen, two bathrooms and a balcony. It is covered with a fast Wi-Fi, and has all the essential facilities.
(COSTS and DATES)
The residency fee is 130€ per week. The minimum stay is 3 weeks. Since at this stage our programme runs without an institutional support and we are unable to provide funding for the residencies we gladly support applications for external funding/ travel grants/ living stipends etc.
(HOW TO APPLY)
Applications are free of charge and should be made by email. There is no application form. The email should contain a CV and a portfolio of selected projects (and optionally a research outline of the residency). The preferred dates of stay should be noted in the email. The applications should be sent to info/@/footnotecentre/./org
for November/December: 20th November for January/April: 31st December
QUESTIONS AND ADDITIONAL INFORMATION
U10 Art Space announces its open call for the 2024 annual program. U10 is an artist run space in Belgrade, Serbia and supports the presentation, promotion and affirmation of young emerging artists from Serbia, the region and abroad that work in the field of contemporary art. We also welcome international projects. More information can be found below.
The selection is done by the U10 team consisting of: Lidija Delić, Nina Ivanović, Sanda Kalebić, Sava Knežević, Iva Kuzmanović, Nemanja Nikolić, Jovana Trifuljesko, and Marija Šević.
To submit your application to the open call, please exclusively use our online application form:
Short, one-day or evening presentations / Screenings / Book Promotions / Discussions / Panels or other events in the field of contemporary art
Sound and music events II – PARTICIPATION CRITERIA
A major section of the program is devoted to the affirmation of young, local, yet unrecognised artists from Serbia and the wider region of the Balkans. Cooperation between several regional countries is also welcome.
Candidates of any citizenship can apply.
We welcome international submissions that through their project support the cooperation and/or exchange with local artists.
U10 is a platform that supports and promotes an innovative and experimental approach to arts and culture. In addition, we support transdisciplinary and interdisciplinary ideas and projects where art and broader scientific disciplines are expanded, intertwined, researched and critically examined. III – THE SUBMITTED MATERIAL SHOULD INCLUDE
A DESCRIPTION of the project that the candidate is applying with, up to 2000 characters with spaces.
CV and/or portfolio (in one PDF file, up to 5 MB).
VISUAL AND OTHER DOCUMENTATION
Up to 10 images/visual reproductions (in JPG or PNG format, up to 10 MB in total).
In case that the project is not completed, is in progress, or based on time/duration, performance or other, please provide an additional description of the appearance and the idea of the project (up to 1500 characters with spaces), with a preferred visualisation of the project in the form of sketches, 3D models or spatial visualisation.
Sound and video: Please send us only links to your previously uploaded videos. Please don’t forget to include the password if it is a private video. The links should be active until November 25, 2023!
TECHNICAL SPECIFICATIONS (list of technical equipment offered by U10 can be found below)
IV – U10 ART SPACE PROVIDES
PR activities (exhibition promotion via our mailing lists and social networks: Facebook event, Twitter, Instagram)
Available technical equipment (3 projectors, 3 media players, 2 flat screen TVs, 1 tablet, 2 sets of speakers, 3 pairs of headphones and basic tools)
Drinks at the exhibition opening
Printed material (title in wall vinyl, brochures) V – PROVIDED BY EXHIBITOR
Transport of the works to and from U10
Any additional equipment or technical support not provided by U10
Travel costs and accommodation
Dismantling, packing and removing works at the end of the exhibition and restoring the space to its original state
VI – HOW TO APPLY
To submit your application to the open call, please exclusively use our online application form: www.u10.rs/open-call
Applications sent per regular e-mail or post will not be considered.
One author can send multiple applications.
The artists commit to realising their project in the agreed period! The slots start from January 2024. VII – DEADLINE
The deadline for entries is October 20, 2023 (including October 20 until midnight CET).
Incomplete applications and applications received after this deadline will not be considered.
The decision of the accepted projects will be made by November 25, 2023, after which all of the applicants will be notified by e-mail.
The offer is aimed at Belarusian researchers, historians, cultural workers, journalists and scientists in the field of humanities, especially in disciplines such as: political history and legal history, sociology…
Over 1,500 political prisoners held in truly Stalinist prison camps and tens of thousands more who face other forms of political repression because of their beliefs. Not much remains of the pro-democracy protest movement of 2021, as Lukashenka, who is pro-Russian and dependent on Putin, crushed it with an iron fist. Of course, Lukashenka’s destructiveness goes much further: he is targeting the Belarusian language, culture and identity as a whole. What is particularly depressing is that these developments are no longer heard in the media and by the international public.
That’s why we’re introducing a new scholarship for Belarusians : It’s about scientific-historical projects on Central and Eastern Europe with a special focus on Belarus, which should be completed in three to six months.
The offer is aimed at Belarusian researchers, historians, cultural workers, journalists and scientists in the field of humanities, especially in disciplines such as: political history and legal history, sociology, culture, social processes in Eastern and Central Europe.
The Organizers of the conference call for contributions that critically rethink and analyze the history of European modern architecture with reference to Central and Eastern Europe
The conference addresses the history of modern architecture from a horizontal and non-hierarchical perspective, overcoming outdated and simplistic categories such as East and West. It will focus not only on design and urban planning issues, but also on questions related to the transformation of societies, the exchange of ideas, the building of relationships between people or the struggle for a better future. The conference approaches architecture from a broader perspective – presenting it as a „seismograph“ of the visionary and at the same time ambivalent experience of Modernism, which has much to say not only about the particular moment in history but also about the present.
For too long, theoretical and political constructs have contributed to a territorial or thematic marginalization of Central and Eastern Europe in European architectural historiography. Instead, the conference encourages a closer look at the dynamics between and beyond the political, geographical and cultural borders of Europe in the 20th and 21st century. The aim is not only to analyze the differences, but also to write a history of connections in modern architecture, employing a range of scales and approaches: focusing on timeframes and milestones, exploring cities, regions and borders where histories and memories meet, as well as examining architecture from the perspective of individual stories – those behind biographies or those behind particular architectural objects and ideas of Modernism. The open call seeks to bring together various perspectives and areas of expertise represented by researchers, architects, designers, architectural historians, urban activists and civic society actors. The main goal is to critically rethink the legacy of Modernism and its associated transformations in Central and Eastern Europe in the context of international relations, dependencies, influence, and power.
The conference builds on the five-year experience of the “Exercising Modernity” program – an interdisciplinary intellectual exchange on art and architecture in a broader sense, exploring how ideas of modernity were reflected in various social and political spheres – and is being organized in cooperation with the initiative for a “European Triennial of Modernism (ETOM)”.
The conference program is shaped along the following five topic areas:
1. CONTESTED ARCHITECTURAL HERITAGE ACROSS CENTRAL AND EASTERN EUROPE
Objects, sites or typologies of compromised or ambivalent history are often referred to as contested, difficult or problematic heritage. All these terms attempt to capture the social resonance of or responsibility for our cultural legacy. This often results in that heritage being excluded from social circulation and appreciation, because from today’s perspective, it is perceived as evidence of a shameful or painful past that has been successfully overcome. Both rejection of a fragment of the past and the abandonment of care can lead to a gradual decay or even invite active processes of aesthetic devaluation or de facto destruction. The reason may be that such heritage is judged unsuitable by a majority society, a defined group, or the political administration to tell a positive, unifying story about itself or is perceived as “alien”. The call-section asks for examples of such ambivalent heritage and for contemporary socio-cultural practices in dealing with it – in particular as regards current challenges of post-Soviet traces in modern architecture in Central and Eastern Europe.
2. IRON CURTAIN(S) OF THE 20TH CENTURY. MODERNISM BEYOND THE BINARY OF EAST AND WEST
This section explores the reception and migration of designs and ideas across various divisions that accompanied the Iron Curtain. Rather than focusing on a one-way flow from the center to the periphery, the interest is on a ‘moving map’. Vectors of exchange between West and East are oriented in many ways and directions. The goal is to challenge unidirectional or vertical historical architectural narratives that are often based on the principle of subordination of Central and Eastern European architecture.
The panel aims to trace disconnected histories and obscure biographies. Particular attention will be given to the question, how did ideological and geopolitical rifts and tensions reinforce the demarcation between the notions of Eastern and Western European Modernism? How did they contribute to the suppression or neglect of certain narratives, design principles, and individual stories? How may ideologically motivated exacerbations have hindered or re-channeled the transfer of ideas?
The call asks for examples of biographies or activities that, despite political or ideological barriers, facilitated the flow of ideas and concepts between East and West or West and East – with a particular focus on countries of Central and Eastern Europe and East and West Germany.
3. BUILT NARRATIVES. MULTILAYERED IDENTITIES OF MODERN ARCHITECTURE
Architectural heritage is often used to tell stories about particular versions of the past. In geographical and cultural areas where multiple groups have lived together and various political spheres have intersected, built heritage may consist of numerous historical layers and witness many deliberate aesthetic redesigns. For various reasons, these are not – or have not been made – equally visible.
The call asks for examples of architectural heritage that bear witness to multicultural and multilingual histories, as well as for examples of successful policies and practices. How can plurality be expressed and made accessible through conservation, storytelling, activism, and artistic intervention?
4. SHARED HERITAGE. POINTS OF CONTACT AND BEST PRACTICES
The notion of shared built heritage unveils the hidden networks and the potential for sharing (architectural) history by various communities, nations, regions and countries. On the other hand, this concept revives sources and risks of tension, as a result of which joint or in-depth exploration is sometimes neglected.
This section is dedicated to strategies for making the public, local communities, authorities and professionals aware of the importance of shared modern history. This includes the same or similar guiding principles, roots, characteristics and design features in modern architecture in Central and Eastern Europe.
The call asks for examples of practices of revitalization, rehabilitation, conservation, documentation, communication and management pertaining to common architectural heritage, with a special focus on the collaboration between various actors involved.
5. NEW COMMUNITIES, NEW BUILDINGS, NEW PEOPLE: THE NOTION OF THE “NEW” IN CENTRAL AND EASTERN EUROPEAN MODERN ARCHITECTURE
Housing is an important part of architectural history, but it also plays a major role in the history of political, social and spatial changes of a particular era. Especially the ideas of social and communal living were labeled “new” at the beginning of the 20th century, when they began to shape cities and social life in various parts of the continent. How did these ideas develop in the first and second half of the 20th century in both East and West?
The panel focuses on centers of change that show diverse developments and layers based on their political history, shifts of borders, migrations and cultures of exile, to examine individual traces, shared models and differences that need to be addressed.
Based on selected case studies, the section discusses examples from polycultural cities such as Berlin, Prague, Kharkiv, Kyiv, Warsaw, Tallinn and Vilnius. Of special interest are significant examples of modern housing settlements for which the initial ideas can be juxtaposed with the present situation and contemporary challenges.
Ujazdowski Castle Centre for Contemporary Art invites young artists to take part in an open call for proposals for the Project Room exhibition series. It is an opportunity to showcase their art at one of the most important contemporary art institutions in Poland and to win two prizes of PLN 20,000 each. The application deadline is 25 August 2023.
This is the eleventh edition of the support programme for emerging artists, thanks to which they may showcase their art at a solo show at Ujazdowski Castle Centre for Contemporary Art. Applications are considered in the form of a competition open to students and art school graduates below the age of forty. To take part in the competition, artists are asked to send their artistic biography, portfolio, and a project of their own exhibition in the Project Room space to projectroom@u–jazdowski.pl.
From applications that meet the formal requirements, the jury will select, by 15 September 2023, six people who will be given the opportunity to present their work at a solo exhibition in 2023 or 2024, starting from October 2023. After the end of all six presentations, the jury will select the most interesting exhibition and award it with an additional prize of PLN 20,000. The public will also be able to choose their favorite project – the author of the best–rated exhibition will receive PLN 20,000 net.
Details on how to apply are included in terms and conditions available at www.u–jazdowski.pl.
Gallery Gallery accepts proposals for solo or group exhibitions on an ongoing basis.
We are open to all types of work that make use of, or otherwise address or critique our unique virtual space as a router gallery.
We are looking for new artists and curators to join our growing community.
We encourage you to think about the virtual space of the gallery, the technology involved, how visitors enter and interact with the exhibition and the unique location of the gallery.
What makes gallery Gallery unique
Gallery Gallery is a router gallery. This means that the visitors to your exhibition can only view your work on their mobile telephone or tablet while they are within range of our wifi router.
So the format in which they will see your work is on a telephone or tablet screen.
The router has no connection to the internet, so the exhibition is not accessible outside our wifi network, and also you cannot use anything that is not on our router.
You will have about 30 GB of storage space at your disposal for your work. If more is necessary, this can be arranged.
The gallery is located at, literally, two doors from the Registry Agency. This means that every day, there are a lot of potential visitors, who are waiting in lines within range of your exhibition and who are already on their phone, looking for something to pass the time.