T a i t e i l i j a h a k u j a

Tälle sivulle on kerätty kansainvälisiä hakuilmoituksia, joilla etsitään taiteilijoita tai teoksia festivaaleille, residensseihin, työpajoihin, julkaisuihin tai muihin vastaaviin hankkeisiin. Hakuilmoitukset ovat pääasiassa englanniksi ja ne on listattu hakupäivän mukaiseen järjestykseen: kiireellisimmät ilmoitukset ovat ensin. Hakujen listaa päivitetään jatkuvasti.

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CALL FOR PERFORMANCES: CONVERGENCE 2013 (Los Angeles)

Convergence 2013: Experimental Collectivities: Performance Nights | October 11th-13th, 2013
Los Angeles, CA

Call for Performances

Deadline Friday, April 12th 2013

How can we imagine collectivity in the present moment, after new media, when connection is often mediated down to 140 characters, coalitions are negotiated through Facebook and embodied occupations of the streets have reinvigorated people around the world? The Convergence 2013 Curatorial Committee,Zach Blas, Micha Cárdenas and Dino Dinco, invite artists to propose performances within the theme and practice of “Experimental Collectivities.” We are particularly interested in exploring methods that will collectively produce and critique systems of knowledge/power.

The 2nd Hemi GSI Convergence will be an exploratory space of lateral collaboration and alternative pedagogy among scholars, artists and activists from throughout the Americas. Convergence 2013 will be jointly hosted by the University of California, Los Angeles (UCLA) and the University of Southern California (USC) on October 11–13, 2013. Hemi GSI will also plan an optional pre-Convergence hosted by University of California, San Diego (UCSD) in La Jolla and Tijuana on October 10th, 2013.

The performance nights at Convergence 2013 will take place on and off campus, in collaboration with local art galleries and can include performances in public space. The exact venues are still being determined.

Possible themes to be adressed include:
Visualizing Cultural Circuits
Tangible and Corporeal Imperialisms
Querying Queerness
Mediatized Cultures and Virtual Communities
Decolonial Feminism
Tourism, Reception and the Ethics of Visiting
Indigeneity, Memory and Praxis
Ecocriticism and the Non-human
Rethinking Textuality
Queer Technologies
Trans/realities

Artists in the Southern California and Northern Baja California regions are encouraged to apply, as the possibility of travel funds is limited.

To apply, please:

1) email a copy of your CV and short bio (200 words) with the Subject: Proposal for Hemi GSI Performance Nights

2) Email a paragraph describing your proposed performance (250-500 words).

3) Describe your technical needs such as projectors, sound, amount of space, lighting, network access, etc.

4) All materials should go to: hemigsi@gmail.com

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Dimanche Rouge is currently considering experimental performance proposals for its tri-national festival to be held in Estonia, Finland and France from October 17th till the 20th, 2013. The festival will present a curated program featuring the latest work by artists from all continents.  This will be an excellent opportunity for artists to show their work to an international audience and interact with colleagues from a variety of origins. Apply here: http://dimancherouge.org/dimanche-rouge-estonia/

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This year Pixelache Festival 2013 is called ‘Facing North – Facing South’.  In connection there is an open call for applications for presentations and workshops for camp pixelache. The deadline is 19.4. For more information: http://www.pixelache.ac/festival-2013/camp-2013/

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CALL FOR CONFERENCE PAPERS AND PROPOSALS – DEADLINE 8.4.2013

Performance, the Body and Time in the 21st century – 26-27 June 2013

Hosted by: existwww.existenceperformanceart.wordpress.com

Queensland College of Art – http://www.griffith.edu.au/visual-creative-arts/queensland-college-art

Venue: Queensland College of Art, Project Gallery, Griffith University 226 Grey Street, South Bank Qld 4101

This two-day symposium will explore issues surrounding Performance, the Body and Time in the 21st century. How is the ever-increasing pace of technology generation affecting us as artists and audiences? How have the advances made in the 21st century changed the way we create, the way we consume and how we collaborate?

For details about how to apply please refer to the Exist website:  www.existenceperformanceart.wordpress.com

The Conference Review Panel aims to complete the review process by 30th April 2013.

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“DISKURS’12 – festival for young performing arts” will take place from October 10th to 14th, 2012 in Gießen, Germany. For the 28th time, Diskursfestival  will be giving young artists from all over Europe the opportunity to network beyond institutional borders. DISKURS’12 supports intensive exchange among participants. It wishes to stimulate intersection and interaction between the arts, and aims to forge a connection between theory and practice. The festival is open to various forms of performance, theatre, dance, installation, video, music, and radio play. DISKURS’12 is looking for non-closed viewpoints to coexist, for various work-based approaches and stages to intertwine. Therefore, it provides a platform for both pieces which have already been displayed and for debut performances.


for all Information on how to apply visit: http://2012.diskursfestival.de
Please use the Informationsheet & Techrider available at: http://2012.diskursfestival.de/files/diskurs12_techrider_en.doc to apply.
Along with it,  send a detailed description of the work along with a CV and video,  audio,  text material and/or audio material of previous and/or current works to:

Kunstrasen Giessen e.V.
Postfach 11 06 25
35351 Gießen
Germany

or apply per E-Mail: call@diskursfestival.de

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Emergency INDEX

Deadline not specified

Artists are invited to contribute to Emergency INDEX, an annual print publication documenting performance in the words of its practitioners. INDEX seeks to include performances of all kinds, with a focus on the problems driving the work and the innovations used to address them. Keywords will be indexed, linking disparate works. In this way, INDEX will create a yearly compendium to define the state of performance through the multiplicity of contemporary practices, and give artists, audiences and scholars exposure to performance outside their circles. To document your performance on our pages, proceed to www.emergencyindex.com.
The Live Art Development Agency is a Partner Organization of Emergency INDEX.

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the  PAiR is asking  the performane artist to fill the questionnaire in the web : https://www.surveymonkey.com/s/NVC363C Deadline not specified

With the data of this questionnaire the PAiR-initiative wants to move the subject forward on all levels – international, European, national and regional level to be able to provide facts for policy-makers.

The PAiR-initiative was formed in 2010 within the world-wide network of ResArtis with the general objective to strengthen existing and support the development of new residence programs for performing artists (www.resartis.org).

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Pleading in the Blood: The Art of Ron Athey

Deadline not specified

Your support is requested towards a major publication dedicated to the pioneering and influential performance artist, Ron Athey

This will be the first ever publication devoted to the work of Ron Athey, a central figure in the development of performance art since the 1980s. Edited by Dominic Johnson, Pleading in the Blood: The Art of Ron Athey will foreground the prescience of Athey’s work, exploring how his visceral, body-based practice foresaw and precipitated the central place afforded to the body in art and critical theory.

Pleading in the Blood will be co-published in 2012 by the Live Art Development Agency (UK) and The MIT Press (USA). The Agency and MIT Press have already raised two thirds of the publication’s budget. Your support will be a crucially needed step in meeting our collective vision for the book. Please follow this link for more information http://www.indiegogo.com/Pleading-in-the-Blood-The-Art-of-Ron-Athey Signed copies of the book and signed Ron Athey prints are available in return for donations.

http://www.indiegogo.com/Pleading-in-the-Blood-The-Art-of-Ron-Athey’

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Dear friends of performance everywhere,
exist-ing events 2011 @ various venues in Brisbane

Deadline not specified

What:  live art, performance art and action art
When:     October 12. November 18. December 9.December 17. 2011

exist ARI are running regular Live Art/performance art/action art  events called exist-ing where artists are encouraged to try out new works, discuss and learn more about Live Art, view international live artist screenings, and present performance or live based artworks to an audience.

If you are an artist interested in performing, presenting, testing out a new work or revisiting an old one with us, we would love to hear it!  If you make work that might be Live Art, performance art, action art, happenings, or cross-disciplinary live realms, we want to hear from you: Please forward your short and brief proposal to: exist@live.com.au
Please refer to above dates and include your availabilities

We are open to exploring ideas, testing out new things, and providing a platform for things to grow.
We are also interested in national and international live-art works via film file or skype presentation.

exist aims to make spaces where artists, audiences and communities can engage openly; spaces where one can pause; ask, discover, surrender, to being – to existing.

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Women & Performance: a journal of feminist theory
Call for Papers
Deadline: 1 Dec 2011

2013 will mark the thirtieth anniversary of the release of Lizzie Borden’s 1983 film Born in Flames, a dystopic imagining of a near-future United States that is ten years past a socialist revolution. Far from a leveling of inequality, this socialist experiment is rife with persistent forms of racial and gender inequality. Over the course of its ninety minutes, Born in Flames follows a range of working class and multi-racial feminist political projects —including street patrols, pirate radio stations, community organizing campaigns, labor strikes, guerilla warfare training, television station takeovers, and finally, in the closing shot of the film, a bombing. In tracing these projects, their overlaps as well as their contradictions, the film calls into question state-centered political utopias and foregrounds concerns about the persistence of sexism and racism in socialist practice and fantasy. Its genre-bending and visual grammar anticipated future experiments in narrative/documentary hybrids and remain surprising and affectively forceful today.

While Born in Flames received some attention from feminist film critics upon its release, the ways in which the film re-imagines feminist politics through queer, anti-racist, and (post)-Marxist politics have not been fully dealt with. More than a generation later, the political questions facing feminist, queer, and trans scholars and activists require exactly the kind of thinking produced and provoked by the film. For the special dossier, we would solicit pieces that focus on assessing the film’s significance and that historicize its critical reception. We would also seek essays that use the myriad issues raised by the film as launch pads for thinking Born in Flames along with other texts and cases; these issues would include state violence, political assassination, liberal reform, transnational anti-colonial solidarity, racial and gender subordination in Marxist theory and practice, queer and trans models of community organizing, armed struggle, media technologies, and feminist coalition-building.

Given its release during an important period of feminist revisioning of film theory, Born in Flames received limited but important attention from feminist film and media scholars, including pieces by Teresa de Lauretis (New German Critique, 1984) and Scott MacDonald (Feminist Studies, 1989), and a 1984 interview conducted by Anne Friedberg and published in the second issue of Women and Performance. Other than a consideration of Borden’s work in a 2000 book by Christina Lane, Born in Flames has been largely neglected both by film studies and by social and political theorists. With this special dossier, we seek to shed scholarly light on what remains a provocative and significant piece of experimental filmmaking. We also aim to put film and performance scholarship in explicit dialogue with political theory and social movement scholarship. Given Borden’s and the actors direct involvement in social movements, Born in Flames demands and requires such a cross-disciplinary consideration that foregrounds the co-articulation of media practice and political practice.

Women & Performance invites critical essay or short performance texts that examine these or other questions relevant to a critical discussion of Born in Flames. Essays should be no more than 10,000 words in length and adhere to the Chicago Manual of Style, 15th Edition.

Abstracts are welcome for review before the final deadline. Complete essays for consideration must be submitted by December 1, 2011.

Please send all work to guest editors Craig Willse and Dean Spade via email (MSWord attachment): cwillse@gmail.com and spaded@seattleu.edu.

Further submission guidelines may be found at http://www.womenandperformance.org/submission.html.

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The Watermill Center
Deadline not specified

The Watermill Center invites emerging artists to submit proposals for the creation of collaborative work that “critically investigates, challenges, and extends the existing norms of performance practice.” Proposals can be made for the further development of works-in-progress or for entirely new works. The Center also welcomes research proposals from established scholars. Residencies can range from one to four weeks and are scheduled throughout the fall (September-December) and spring (February-June). While at Watermill, residents are required to conduct at least one public presentation, such as an open rehearsal, screening, or talk. Applications are accepted online; click here for complete guidelines: http://watermillcenter.org/programs/residencies

This year, the Center will award one residency to an artist who is a citizen and/or resident of one of the following countries: Algeria, Bahrain, Egypt, Iraq, Iran, Jordan, Kuwait, Lebanon, Morocco, Oman, Palestine, Qatar, Saudi Arabia, Sudan, Syrian Arab Republic, Tunisia, Turkey, United Arab Emirates, and Yemen. Click here to learn more about this new partnership with ArteEast, which presents works by contemporary artists from the Middle East, North Africa, and their diasporas.: http://watermillcenter.org/programs/residencies/arteeast

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