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Studija Space invites creative minds – artists, curators, writers, designers, photographers, and others – to propose projects at its newly established art space in Kuldīga, Latvia. The organization welcomes thinkers from diverse creative fields interested in spending a minimum of two weeks (up to two months) in Kuldīga, developing their creative endeavors. Priority will be given to projects addressing themes like ecology, nature, evolving landscapes, environmental challenges, and the intricate dynamics between humans and their surroundings. Studija Space also values projects that engage with the local community and reflect the unique context of Kuldīga.
Kuldīga, situated in Courland in western Latvia, is renowned for its UNESCO-designated status as a remarkably preserved traditional urban settlement. It draws global visitors and local artists seeking a serene and inspiring setting. Studija Space is located in the vibrant Kaļķu Street quarter, home to numerous small, locally owned businesses. Just steps away flows the Venta River, a key element enhancing the town’s picturesque charm. The Courland region boasts rich craft traditions and oral histories, including the well-preserved bourdon singing in Alsunga, a brief drive from Kuldīga.
Available residency time slots are September 2 – 20 and October 1 – 30, 2024.
Provided are:
80 square meter studio space with basic equipment and amenities available at the space;
curatorial assistance in developing your artistic and/or research project (it would include networking opportunities);
basic technical assistance;
a welcoming and tranquil environment;
a possibility to present your practice publicly, involving local community.
Residents are responsible for lodging, accommodation, and living expenses. The organisation will provide support in applying for funding.
The fifth edition of the Exercising Modernity Academy, entitled Geographies of modernity – communities, discourses and ruptures // Geografie nowoczesności – wspólnoty, narracje i pęknięcia, will be devoted to issues related to the shaping of societies under conditions of constantly changing national frontiers. Central and Eastern Europe experienced border shifts, forced migrations and significant transformations of the populations of the individual countries during the 20th century. Some were the result of wars and conflicts, others of social experiments based on ideological concepts aimed at creating a particular type of society. Where the population remained multi-ethnic at least in part, efforts were made to blur differences via the organization and controlling of social life. The effects of these actions and processes can be seen in the mental maps of the region that persist to this day, phantom borders and sentimental fantasies of lost “small homelands.” We revisit these issues in the reality of the ongoing war triggered by Russia’s full-scale invasion of Ukraine, which has forced many people to leave their homes and migrate to Western Europe either on a temporary or more permanent basis.
During the 19th and 20th centuries, many Central and Eastern European states – such as Poland, Ukraine, the Czech Republic and Slovakia, as well as Lithuania, Latvia and Estonia – experienced modernization in the form of industrial development, urbanization, infrastructure expansion and social and political reform. The processes at the turn of the 20th century were often linked to the struggle for sovereignty and the strengthening of national identity, which was particularly important for countries that were striving for independence. Modernization and the associated rise in living standards often went hand in hand with increased nationalism and the affirmation of national culture and history, as well as attempts to produce national styles in architecture and art. The modern vision of the new society was inclusive and empowering for some, while exclusionary for others and their traditions and culture. At the end of the 20th century, modernization processes were in turn linked to the fall of the Iron Curtain and transitions to capitalist economies.
Contemporary modernization processes, such as European integration and globalization, also influence the formation of new understandings of community and new models of identification across the continent, including in Central and Eastern Europe. Our aim is to look at what preceded these processes and how 20th-century experiences can influence contemporary identity transformations.
During the next edition of the Exercising Modernity Academy, we also want to ask questions about the role culture and art played in these continuous processes of identity formation. To what extent was architecture, literature, painting, theater or film an instrument of change, and to what extent was it a symbolic signpost for aspirations? Can one see the scars in the space testifying to phantom boundaries? How is unwanted heritage sometimes incorporated and ingrained into the narratives of the communities it serves? What are the strategies for incorporating it without risking triggering conflicts and evoking traumatic memories? What are the consequences and social costs of forced modernization according to a particular narrative or political agenda, or is it actually a step toward modernity becoming the realization of dreams for prosperity and peace?
This year’s Academy, where we will encourage broader reflection on these issues through lectures, seminars and workshops, will be held in Berlin from 17–22 September 2024, with a program focused on topics divided into three thematic blocks.
WHAT WE OFFER – Free participation in the Exercising Modernity Academy 2024 with renowned and experienced researchers and creators. – Partial reimbursement of travel expenses in the amount of: – up to 120 EUR for participants traveling from Poland and Germany; – up to 300 EUR for participants traveling from Israel; – up to 200 EUR for participants traveling from Ukraine or Belarus. – Free accommodation in Berlin for those from outside Berlin. – Partial meals (breakfast and lunch). – Interesting accompanying program. – Graduates of the Academy will be able to submit a research or artistic project created or developed during the Academy to a special scholarship program dedicated to issues of modernity in the 20th century and organized by the Pilecki Institute in Berlin. You can read about the previous edition of the scholarships in the Scholarships tab: http://exercisingmodernity.com/stypendia-2022-2023/
APPLICATIONS Candidates are invited to send their applications in English via email to: apply/@/exercisingmodernity/./com until 11:59 p.m. on 19 July 2024. Please include “Academy 2024” in the subject line of the email.
NAPK is excited to announce an open call for the 4th Annual Installation Art Festival.
Theme of the festival: This year, the festival is centered around the theme “Feeling” Through this open call, we invite artists to explore feelings in a broad sense, delving into the ways and depth of their expression, and reflecting on the experience of working with emotions as an artist.
Who can apply: The festival welcomes all individuals interested in utilizing installation as an innovative and immersive artistic medium. We encourage those who are prepared to reassess their artistic practices and actively participate in the festival processes.
Structure of the festival: The festival comprises a series of events, commencing with the review of the open call and the selection of participating artists.
The key events include: open studios, where participating artists construct their installations within the center’s premises, the main exhibition featuring selected participants, public workshops, and art talks by participating artists, discussions occurring during and after the festival.
What to expect from the festival: Artists, within the festival framework, are provided with the opportunity to create artwork aligned with the festival theme. They can develop their pieces during the open studios at the Armenian Center for Contemporary Experimental Art, engage with fellow artists, and participate in artistic conversations covering topics or mediums of personal interest.
Curator: Giorgio Granata
Important dates:
Application deadline – 31․08․2024 Period of open studios – November, 2024 Opening of the festival – November, 2024
Rupert invites artists, writers, curators, researchers, academics, cultural managers, and other thinkers to join us in Vilnius to live and work for 1 to 3 months between January and December 2025.
Our residency programme is ideal for developing individual or collaborative projects, reflection, research, and immersion in Lithuania’s thriving contemporary art context. The ideal resident already has several years of independent professional experience.
ABOUT THE RESIDENCY
Rupert is located in the picturesque area of Valakampiai in Vilnius, a short distance from the lively city centre. We sit by the river Neris, surrounded by a small beach, peaceful fields, and a forest. We have three studios for our residents in the ‘Tech Arts’ building, designed by award-winning Lithuanian architect Audrius Ambrasas.
Each resident is provided with a studio space that has a mezzanine (approximately 52 m2) to be used as a space for production, research, and living during the residency. The studio is fully furnished and equipped with WiFi. The building contains a reading room, gallery space, conference room, and a kitchen, all open for residents’ use. Several other organisations, companies, and occasional events also share the building with Rupert.
During the residency, we provide residents with curatorial assistance in their research process. This includes studio visits from our staff and visiting art professionals, as well as connections to the local art scene. We welcome residents to participate in Rupert’s public and alternative education programmes. While not required, opportunities are available for residents to present their work and organise discussions.
Rupert’s residency programme encompasses more than its participants’ physical time in Vilnius. We maintain strong connections with many of our residency alumni. As opportunities arise, our current and former residents are invited to participate in exhibitions, events, or other activities as part of Rupert’s programmes.
All the residencies are free, thanks to the support of the Lithuanian Council for Culture, and the studios provided by Tech Arts. Applicants are responsible for personal (daily and travel) expenses. Rupert’s team will issue acceptance letters for successful applicants and support their applications for external grants to cover their additional costs.
Artist collectives of up to 3 people may apply for the residency programme. In this case, the collective is provided with one residency studio. Families are also welcome, but be aware that the kitchen, bathroom, and toilet facilities are shared between the residents and other tenants of the building. While studio access is not step-free, we will do our best to accommodate applicants from all backgrounds, including those with accessibility needs. If you have specific questions in advance of applying, write info/@/rupert/./lt with the subject ‘Residency accessibility’.
Nordic Culture Point scholarship all year, up to 2 places available
With the generous support of Nordic Culture Point, Rupert offers two-month residency scholarships for artists officially residing in Nordic and Baltic countries other than Lithuania. This award includes stipends for travel (300 EUR), living expenses (1000 EUR), and production (400 EUR). Additional resources may be allocated for public programming. We ask applicants to opt in on the form for consideration.
Nordic and Baltic applicants not selected for the award are still eligible for the general open call. Rupert will support selected residents’ external funding applications as usual.
RESIDENCY PROJECT
We invite prospective residents in their application to outline a project that they intend to work on during the residency.
The project is not required to be specifically developed for Rupert. You may also work independently on your creative practice. However, we encourage applicants to share how a Rupert residency will contribute to the development of their project and creative practice. Additionally, we ask you to specify if your residency will be research-based or production-based, and any particular materials you will need.
RESIDENCY DURATION
Individual residencies are for 1 to 3 months. Applicants should indicate their preferred duration and timing in the form. If accepted, the final dates are negotiable according to studio availability and Rupert’s programme schedule.
APPLICATION GUIDELINES
Please fill in the online application form and submit the necessary documents via Rupert’s website:
The deadline for applications is 14 July 2024, 23:59 EEST.
There is a 20€ application fee, to be paid via Stripe. You can use a credit or debit card, as well as Apple Pay or Google Pay. The application is only registered after submitting payment. Contact us if you have any questions or difficulties with the payment.
We receive an enormous volume of applications each year, and the application fee helps us cover the cost of external reviewers and additional hours to give all our applicants fair consideration.
Shortlisted applicants will be invited for online interviews with the residency admissions jury, including Rupert’s team and external reviewers, which will take place in late August 2024. We will notify applicants of the results by the first week of September 2024.
PARTNERS OF THE RESIDENCY PROGRAMME OPEN CALL
Lithuanian Council for Culture Tech Zity Nordic Culture Point
Start: May 24, 2024, 12:00 pm Deadline: 16.07.2024, 11:59 pm
Until July 16, we are waiting for your applications for the fifth anniversary edition of the Mentoring Program – OP_YOUNG. We invite all artists associated with the Lower Silesia area, who are under 35 years of age.
The OP_YOUNG Program was initiated in 2020 by Kama Wróbel, then director of OP ENHEIM. The initiative focuses on promoting talent from Lower Silesia, activating the local artistic community. The program introduces young artists to areas of critical and artistic discussion concerning both the region and the country. We are delighted that also this year our activities will be supported by the patronage of the Berlin-based law and notary firm GENTZ.
More about the programe >> PROGRAME << During OP_YOUNG, we are opening up to progressive artists and creators of the younger generation. As OP ENHEIM, we want to actively support their artistic development. To date, we have awarded ten people and granted five honorable mentions. Their works have been presented in the spaces of our Gallery, at our headquarters at 4 Solny Square in Wroclaw. Some have been included in the OP ENHEIM collection. WHAT ARE THE PRIZES?
1/ A fully funded and produced exhibition at OP ENHEIM’s headquarters with curatorial development; 2/ prize in the amount of:
3/ individual mentoring path; 4/ possibility of receiving a Special Prize – the sale of the work to the OP ENHEIM collection; 5/ one month residence stay at the OP ENHEIM Residence House – Tarczyn near Wleń; 6/ presentation of the works in the urban space of Wrocław on CTL media.
APPLY! We invite artists and visual artists under 35 years of age who are associated with the Lower Silesia area to participate. Please submit both existing projects and concepts ready to be realised. All those interested can submit their proposals until 16 July 2024, 11.59 pm by filling in the Application Form found on the website www.opyoung.pl. It will be launched on 24.05.2024, 12:00 pm.
COMPETITION SCHEDULE:
24.05.2024 r. – opening of the Competition 16.07.2024 r. – deadline for receipt of applications 14.08.2024 r. – announcement of the results of the Competition.
In the 19th century, Poland, the so called “Wild East”, already formed part of Germany’s colonial aspirations (Kopp 2012). Both Prussia and the German Empire, as well as the Nazi state, repeatedly attempted to fulfill their colonial settlement ambitions in Eastern Europe. This materialized in Bismarck’s Germanization policy, the occupied territory “Ober Ost” during the First World War, and Nazi Germany’s “Generalplan Ost”. The German mass crimes in the region during the Second World War were based on these continuities of anti-Slavic policies and convictions. Colonial and racist patterns of thought and behavior towards Eastern Europe continue to have an impact in many respects in the present day.
As early as the late 1990s, scholars such as Larry Wolff and Maria Todorova showed, in reference to Edward Said’s Orientalism, how Eastern Europe was constructed in Western imagination as “different”, as “Europe but not Europe”. Colonial traditions of thought are also reflected in Erinnerungskultur (culture of remembrance) and historical debates. The gaps and absences in German collective memory of the National Socialist war of extermination in Eastern Europe have come to light, not only in the wake of 24 February 2022 and corresponding discourse on the Russian war of aggression in Ukraine. The Auschwitz concentration and extermination camp slowly but gradually found its way into German historical consciousness as a symbol of the industrial mass murder of European Jews. However, little attention is paid to the “Holocaust by Bullets” carried out in the territories of Ukraine and Belarus occupied by the Wehrmacht, or the extermination of Polish Jewry in the “Aktion Reinhardt” death camps. Other (Eastern) European victim groups, for example the Poles murdered as part of the “Intelligenzaktion”, the forced laborers deported from the Soviet Union or Sinti and Roma, hardly play roles in the German Erinnerungskultur (Davies 2023).
The aim of the two-day event (P)Ostkolonialismus – Postcolonial Perspectives on Poland, Ukraine and Eastern Europe, organized by the Pilecki Institute Berlin, is to examine and question the continuities of colonial traditions of thought in Germany regarding Poland, Ukraine and other Eastern European countries, their impact on the German history of violence and their influence on contemporary Erinnerungskulturen. In this context, the event aims at discussing the potentials and challenges of postcolonial and decolonial approaches with regard to addressing knowledge gaps and absences in memory. In lectures, panel discussions and interactive workshops, scholars and educators are invited to enter into conversation with each other.
We invite scholars and practitioners in historical-political and/or cultural education to submit proposals along the following questions:
To what extent can postcolonial theoretical approaches contribute to new perspectives and a better understanding of the history of Germany’s relations with Poland, Ukraine and Eastern Europe? What opportunities and challenges emerge from it?
Which colonial paradigms can be found, for example, in historical narratives and Erinnerungskulturen, as well as in artistic approaches such as literature, film, etc.? And how can these be overcome?
How can the discourse on this topic, which is usually limited to the academic context, be integrated into practice in the education and museum sector and, as such, be made accessible to a wider public? What challenges does this bring about?
To what extent can postcolonial perspectives address the prevailing knowledge gaps and absences in German Erinnerungskultur when it comes to the entangled history with the region?
Which concepts and methods can be used in research and educational work to dismantle colonial ways of thinking about Eastern Europe? What possibilities arise from artistic approaches?
To what extent can decolonial approaches in memory and educational work contribute to encounters on equal terms?
Proposals for lectures (max. 20 min.), panel discussions (60-90 min.) and workshops (approx. 90-120 min.) may include theoretical-methodological reflections, innovative research approaches in history and cultural studies, as well as promising concepts for educational and outreach work, exhibition practice in museums or artistic approaches. The conference languages are German and English.
The Pilecki Institute Berlin covers travel and accommodation costs for speakers. Participation is free of charge.
Please send your proposals in the form of an abstract in German or English (max. 300 words) together with a short bio (max. 200 words) with the subject “(P)Ostkolonialismus” to events/@/pileckiinstitut/./de by July 14, 2024.
The fifth edition of the Exercising Modernity Academy, entitled Geographies of modernity – communities, discourses and ruptures // Geografie nowoczesności – wspólnoty, narracje i pęknięcia, will be devoted to issues related to the shaping of societies under conditions of constantly changing national frontiers. Central and Eastern Europe experienced border shifts, forced migrations and significant transformations of the populations of the individual countries during the 20th century. Some were the result of wars and conflicts, others of social experiments based on ideological concepts aimed at creating a particular type of society. Where the population remained multi-ethnic at least in part, efforts were made to blur differences via the organization and controlling of social life. The effects of these actions and processes can be seen in the mental maps of the region that persist to this day, phantom borders and sentimental fantasies of lost “small homelands.” We revisit these issues in the reality of the ongoing war triggered by Russia’s full-scale invasion of Ukraine, which has forced many people to leave their homes and migrate to Western Europe either on a temporary or more permanent basis.
During the 19th and 20th centuries, many Central and Eastern European states – such as Poland, Ukraine, the Czech Republic and Slovakia, as well as Lithuania, Latvia and Estonia – experienced modernization in the form of industrial development, urbanization, infrastructure expansion and social and political reform. The processes at the turn of the 20th century were often linked to the struggle for sovereignty and the strengthening of national identity, which was particularly important for countries that were striving for independence. Modernization and the associated rise in living standards often went hand in hand with increased nationalism and the affirmation of national culture and history, as well as attempts to produce national styles in architecture and art. The modern vision of the new society was inclusive and empowering for some, while exclusionary for others and their traditions and culture. At the end of the 20th century, modernization processes were in turn linked to the fall of the Iron Curtain and transitions to capitalist economies.
Contemporary modernization processes, such as European integration and globalization, also influence the formation of new understandings of community and new models of identification across the continent, including in Central and Eastern Europe. Our aim is to look at what preceded these processes and how 20th-century experiences can influence contemporary identity transformations.
During the next edition of the Exercising Modernity Academy, we also want to ask questions about the role culture and art played in these continuous processes of identity formation. To what extent was architecture, literature, painting, theater or film an instrument of change, and to what extent was it a symbolic signpost for aspirations? Can one see the scars in the space testifying to phantom boundaries? How is unwanted heritage sometimes incorporated and ingrained into the narratives of the communities it serves? What are the strategies for incorporating it without risking triggering conflicts and evoking traumatic memories? What are the consequences and social costs of forced modernization according to a particular narrative or political agenda, or is it actually a step toward modernity becoming the realization of dreams for prosperity and peace?
This year’s Academy, where we will encourage broader reflection on these issues through lectures, seminars and workshops, will be held in Berlin from 17–22 September 2024, with a program focused on topics divided into three thematic blocks.
WHAT WE OFFER – Free participation in the Exercising Modernity Academy 2024 with renowned and experienced researchers and creators. – Partial reimbursement of travel expenses in the amount of: – up to 120 EUR for participants traveling from Poland and Germany; – up to 300 EUR for participants traveling from Israel; – up to 200 EUR for participants traveling from Ukraine or Belarus. – Free accommodation in Berlin for those from outside Berlin. – Partial meals (breakfast and lunch). – Interesting accompanying program. – Graduates of the Academy will be able to submit a research or artistic project created or developed during the Academy to a special scholarship program dedicated to issues of modernity in the 20th century and organized by the Pilecki Institute in Berlin. You can read about the previous edition of the scholarships in the Scholarships tab: http://exercisingmodernity.com/stypendia-2022-2023/
APPLICATIONS Candidates are invited to send their applications in English via email to: apply/@/exercisingmodernity/./com until 11:59 p.m. on 19 July 2024. Please include “Academy 2024” in the subject line of the email.
The Galerie 35M2 collective hereby announces an open call for the second annual Summer School, with the subheading “The Individual and the Society”. The event will take place from 7 to 10 August at the gallery premises in Prague.
The forthcoming Summer School is part of the gallery’s several-year programme cycle, which falls under the umbrella of the term Perception. The gallery collective understands this term as the ability to relate sensitively to the world around us. The four-day programme of this year’s Summer School investigates our position as individuals within a constantly changing world, and inquires into the kind of role we can play in shaping the future scenarios of our society and our operation from a feminist perspective. We focus our attention in this programme on the subject of women’s refuges and feminist practices of exhibition institutions. The Summer School programme will consist of lectures, talks by artists, body workshops, critical readings, studio visits and a field trip.
The open call is addressed to all professionals in the extended field of contemporary art – curators, theorists, historians, artists, humanities scholars and cultural workers, as well as associated disciplines, from both the Czech Republic and abroad.
The programme is curated by Tea Záchová and Anežka Januschka Kořínková.
The programme will be held in English. Application form: https://docs.google.com/…/1FAIpQLSf5N3dHuaVHTy…/viewform Participation fee: 100 EUR**
*Participants will pay for travel and accommodation costs themselves **Includes meals and costs related to the programme. If you are interested in taking part but cannot afford the fee, please contact us at the e-mail address stated below
Date: 7-10 August 2024 Venue: Galerie 35m2, Prague Deadline for applications: 31 May 2024 Any questions? Contact us at: galerie35m2/@/gmail/./com
We are looking for representations of different encounters with the forest from both human and non-human perspectives.
The FOREST ENCOUNTERS project explores and proposes diverse imaginaries, concepts, and practices around the following questions: What and how can we learn with and through the forest? What are actual and potential human encounters with the forest? How can we better coexist with the forest? What kind of forests do we want and need in the future?
We are looking for texts that explore your personal experiences around the forest. We welcome different perspectives of the forest — as the aesthetic, social, political, ecological, metaphysical space, a.o. We enjoy non-traditional writing and work that might not be supported by conventional publishing venues. We look forward to reading about the forest and the encounters that take place inside of it.
We are accepting applications from both individuals and collectives. Six selected works will be published and distributed worldwide in FOREST ENCOUNTERS paperback and e-book, and will also be available online in audio format as a podcast. The authors of the six selected works will receive a forfeiture honorarium of EUR 150.
Looking forward to reading your work – send it our way!
We ask you to submit your work via our online Google Form active from 20/04-30/06/2024. Submission is free.We advise you to prepare your application off-line until it is ready to be submitted as the contents of the form cannot be saved on-line before submission.
Guidelines for length
Essay: 500 to 700 words
Flash fiction: less than 500 words
Short story: 500 to 700 words
Poetry: 1 to 3 poems, less than 700 words in total
Language
English (mandatory) In original language (optional, but welcomed :))
Deadline
The call opens on April 20, 2024 and automatically closes once it receives one hundred submissions. The final date for submissions is June 30, 2024.
Selection process
The Forest Encounters Cohort will review all submissions.
The announcement of six selected works will take place no later than October 2024.
Publication of submitted works
All submissions will be published on the Forest Encounters website if applicants give permission during the application process.
The six selected texts will be published in the Forest Encounters publication and distributed as paperback and/or e-book in 2025. They will also be recorded as a podcast, and made available to the public through other digital channels of the Forest Encounters project.
Code of Conduct
Demeaning words that could be experienced by readers as undermining another person’s self-esteem, or implying that he/she/they is less worthy as a human being will not be allowed. We are against all forms of discrimination, racism, antisemitism, and Islamophobia.
Questions
If you have any questions regarding the application process or your application, please contact Out of Sight vzw (publisher) by email: office/@/out-of-sight/./be
Kunst Raum Mitte is calling for applications for a residency program running for two months between June and August 2024 (exact dates negotiable), targeting researchers, artists, curators, writers, and other cultural practitioners. This open call welcomes both individuals and groups with a focus on archival practices. The submission deadline is April 28.
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