INDEX
1. Fado presents INTERFAITH CHANTING / PRAYING CEREMONY
2. EVENT: 100 People Performances: Appreciation of Love w/Shannon Cochrane
January 25, 2005, 7 pm at Drake Underground, 1150 Queen St. W. (Toronto);
Source: Shannon Cochrane
3. EVENT: Istvan Kantor: Machinery Execution
February 9 - April, 2005 at the Art Gallery of York University (Toronto); Source; Instant Coffee
4. CALL FOR SUBMISSIONS (PRINT): "Women, Arts, Politics/Power," Atlantis (Halifax)
Deadline:February 1, 2005; Source: Artsadmin E-digest Issue 160
5. CALLS FOR PROPOSALS: Residency & Social Sculpture Commission, Eyebeam (USA)
Deadline: February 13, 2005; Source: Franklin Furnace
6. CALL FOR PAPERS, PRESENTATIONS, PERFORMANCES: "(Im)permanence: Cultures in/out of Time" (USA)
Deadline: February 16, 2005; Source: School of Art, Carnegie Mellon
7. CALL FOR PAPERS: "Beyond the Object" York Art History Graduate Students Assn (Toronto)
Deadline: February 21, 2005; Source: Instant Coffee
8. CALL FOR PROPOSALS (ELECTRONIC MEDIA): EAST 05 (UK)
Deadline: February 26, 2005; Source: Artsadmin E-digest Issue 160
9. CALL FOR SUBMISSIONS: "Pure Research 05" Nightswinning (Toronto)
Deadline: March 1, 2005; Source: Nightswimming
10. CALL FOR PROPOSALS: "Vacant Lots" Toronto Free Gallery
Deadline: April 1, 2005; Source: Instant Coffee
11. CALL FOR PROPOSALS: "Travelling" Wonders of the Prairie Festival (Germany)
Deadline: May, 2005; Source: zeitraum_ex!t büro für kunst e.v.
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1. Fado presents INTERFAITH CHANTING / PRAYING CEREMONY
INTERFAITH CHANTING / PRAYING CEREMONY
(in the FIVE HOLES" Listen! series)
Organized by SO-YEON PARK
January 27, 2005, 7 - 8 pm
Alumni Hall of Victoria College (University of Toronto)
91 Charles Street West, Toronto
Free
one of five performance projects dealing with the sense of hearing
Fado is pleased to present INTERFAITH CHANTING / PRAYING CEREMONY, an interactive event organized by Korean artist So-Yeon Park. Park has assembled a circle of local volunteer chanters from a variety of religious traditions who will direct their voices toward participants' wishes as a way of channeling transformative energy. Audience members are invited to walk around the circle and listen, as well as to enter the circle and hold a wish while the chanters surround them and pray for their wish to come true.
Park explains:
This spontaneous multi-faith circle of chanting and prayer brings together people from many faiths. Religious/spiritual practitioners are invited to experience and share their own deep faith in an environment of diverse spiritual devotion. Viewers will have an opportunity to witness and feel the power of prayer.
About the artist
So-Yeon Park was born in Pusan and raised in Seoul, Korea. She is currently living in Lawrence, Kansas, where she is assistant professor in Art at the University of Kansas. She holds an MFA in art from Ohio State University, a BFA in Sculpture/Ceramics from California College of Arts and Crafts, and a BFA in Arts and Crafts from Seoul Women's University. Park has exhibited and performed in solo and group shows in Columbus, Ohio, at Marin Headlands, Golden Gate National Park, California, and in Seoul, Korea. She currently has a sculpture/performance solo show at the Sculpture Center in Cleveland, Ohio.
About FIVE HOLES
FIVE HOLES is an ongoing Fado series that examines the nature and importance of bodies (performer and audience) in performance art by focusing on individual senses. Previous components dealt with the senses of sight, touch and smell.
FIVE HOLES: Listen! presents five performance "maneuvers" dealing with the sense of hearing, featuring Erika DeFreitas (Toronto), Linda Rae Dornan (New Brunswick), Eric Létourneau (Quebec), So-Yeon Park (Korea/USA), and Jed Speare (USA). Listen! considers acts of "listening" as they are carried out by and impact upon physical, social, political and spiritual bodies. Linda Rae Dornan presented herself as a solitary figure, sitting quietly in the city, listening -- encouraging us to also stop for a moment to hear what we normally ignore. Erika DeFreitas offered her presence for a one-on-one exercise of listening as a way of locating the self. Jed Speare lobbied the city for a quiet zone that would serve as an area of sound awareness. Eric Létourneau evoked silence as a way of marking and remembering all of the world's victims of political persecution in a multi-layered project that interrogates the role of the State and of mass media in silencing "silence" itself.
Fado is pleased to acknowledge travel support for this event from the University of Kansas.
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2. EVENT: 100 People Performances: Appreciation of Love w/Shannon Cochrane
January 25, 2005, 7 pm at Drake Underground, 1150 Queen St. W. (Toronto);
Source: Shannon Cochrane
Appearances and heartfelt contributions by regulars Louise Liliefeldt and Laura Nanni
Special appearances by the Big Heart and the Pointed Arrow mascot team.
You, your friends and lovers are cordially invited to attend a special reprise of the 100 People Performances on Tuesday January 25th at 7pm. This time, the 100 People Performances presents Appreciation of Love and takes the form of a traditional roast, laughing at, toasting, sending up and honouring the topic of love. This performance is presented as a part of the Drake's “Anticipation of Love”, a month long series of projects about love.
100 People Performances: Appreciation of Love is an hour long, early evening experiment in self organizing systems: a presentation comprised of various small projects, tiny talent performances and possibilities for a group of 100 people. (Or more – works the same. Or many less – works the same.) This time the theme is love. Remember, in tennis love means nothing. In badminton, it means everything. Please note: though we sometimes do things as a group in the 100 People Performances, no one is ever singled out. Singling out is not valued at 100 People Performances because the whole of the pattern is always greater than the sum of its parts.
If you were a part of the first 100 People Performances back in October, hope to see you and we could use your joyful willingness again this time! If you are new to 100 People Performances, please come by and bring your friends. We're going for 100 plus plus this time (record to beat: 106).
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3. EVENT: Istvan Kantor: Machinery Execution
February 9 - April, 2005 at the Art Gallery of York University (Toronto); Source; Instant Coffee
Opening Reception: Wednesday 9 February 6 – 9 pm
The AGYU presents the opportunity for the public to examine the work of controversial 2004 Governor General’s Award in Visual and Media Arts winner Istvan Kantor. The exhibition concentrates on his recent works overlooked in the media controversy: Kantor’s interactive machine and video works.
A new work, Spielraum/Playroom – Remains of a Revolution, will transform the AGYU into an interactive installation involving live video feeds, projections, and robotics. Also shown will be the feature-length video Lebensraum/Lifespace – Spectacle of Noise (2004), a semi-autobiographical, science-fiction allegory on the battle for living space in and the gentrification of Capital City (Toronto) and the resistance that combats it.
“In the land of accumulation all activity remains activated, causing continuous interventions, overlapping structures, sudden changes, global explosions, turmoil, tumult, turbulence, everything happens at once and simultaneously…It’s accumulation that makes the earth shake at six o’clock and demolishes the difference between art and life, labour and leisure”. –– Istvan Kantor, 2004.
The Art Gallery of York University is located at 4700 Keele St. in the North Ross building of York University, Suite 145. Gallery hours are: Monday to Friday, 10 am – 4 pm; Wednesday, 10 am – 8 pm; Sunday, noon–5; Saturday, closed. Admission is free.
The AGYU is a university-affiliated public, non-profit, contemporary art gallery supported by York University, the Canada Council for the Arts, the Ontario Arts Council, and the city of Toronto through the Toronto Arts Council.
GET ON THE PERFORMANCE BUS!!
Ride the performance bus to the opening reception of Istvan Kantor's exhibition with writer, filmmaker, and theatre director Jacob Wren. The bus departs the AGO (Dundas and McCaul St.) at Six O’clock and returns downtown at 8:30 pm. The bus is free.
Public programmes for Istvan Kantor: Machinery Execution include Direct Art, Material Action, a film screening featuring the works of Kurt Kren and Otto Muehl on Wednesday 23 February 2005, 3:30 pm and again on Sunday 27 February 2005, 2 pm. Both screenings will take place in the Nat Taylor Cinema, N102 Ross Building, York University. On Tuesday 8 March 2005, 4:30 pm York University professors: Dr. Steven Bailey (Assistant Professor, Science and Society); Dr. Shannon Bell (Associate Professor, Political Science); and Dr. Jennifer Fisher (Assistant Professor, Canadian Art History/Curatorial Studies) will take part in an interdisciplinary discussion panel on the work of Istvan Kantor. This discussion will consider how Kantor seeks to destabilize the stranglehold and omnipresence of technology and its attendant systems of social control throughout his video, installation, and performance work. On Sunday, 3 April 2005, the AGYU will team up with the Koffler Gallery and the Doris McCarthy Gallery for a contemporary bus tour of the current exhibitions. The free bus departs from the Ontario College of Art and Design at 1 pm and returns downtown at 4 pm. Please call the AGYU at 416.736.5169 to reserve a seat on the bus.
For more information on the exhibition, images, or interviews with Istvan Kantor or curator Philip Monk, please contact Emelie Chhangur, Assistant Curator, by telephone, 416.736.5169, or email, emelie@yorku.ca
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4. CALL FOR SUBMISSIONS (PRINT): "Women, Arts, Politics/Power," Atlantis (Halifax)
Deadline:February 1, 2005; Source: Artsadmin E-digest Issue 160
Submissions are invited for an upcoming special issue of Atlantis on "Women, Arts, Politics/Power," which will focus on the past, present and future of the relation between women, art and politics or power. Atlantis is an interdisciplinary journal devoted to critical and creative writing in English or French on the topic of women. We define art broadly to encompass visual art, craft, design, film, music and all the performing arts, as well as poetry and alternative literary forms. We invite submissions that address how feminist art, in its many forms, has merged the aesthetic with the political in order to challenge existing ideas of both, to diagnose the oppressive or exploitative conditions of culture(s), and to strive actively for historical change. We also welcome papers that consider the roles of criticism and historical writing, the significance of institutional frameworks and publics, and the relations between modes of theory and practice within both the academy and the realm of popular culture. Information regarding the contributors' guidelines may be found in a recent copy of the journal, at the web site (www.msvu.ca/atlantis) or by contacting Atlantis: A Women's Studies Journal/Revue d'etudes sur les femmes, Institute for the Study of Women, Mount Saint Vincent University Halifax NS B3M 2J6. The submission deadline: February 1, 2005.
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5. CALLS FOR PROPOSALS: Residency & Social Sculpture Commission, Eyebeam (USA)
Deadline: February 13, 2005; Source: Franklin Furnace
EYEBEAM IS PLEASED TO ANNOUNCE TWO OPEN CALLS FOR PROPOSALS
Artists in Residence (AIR) Program Winter/Spring 2005
Social Sculpture Commission in Conjunction with the LMCC
Eyebeam is now accepting applications for the next round of Artists in Residence Program as well as the Social Sculpture Commission, our first public art commission conducted in conjunction with the Lower Manhattan Cultural Council (LMCC).
Applications accepted Jan. 5 - Feb. 13, 2005
Artists in Residence Program:
Artists receive production support through 24/7 access to newly renovated studios in Eyebeam's Chelsea facility in New York City; a $1500 honorarium; the opportunity to participate in public programs (exhibition, prototyping events, live events); access to production and exhibition equipment; technical support from Eyebeam staff and production help from interns. Artists may work with the resources of the Moving Image Studio, R&D Lab and Education Studios depending on the needs of their project.
Eyebeam's AIR Program is a multidisciplinary initiative that supports creative research, production and presentation of projects that query art, technology and culture. Projects range from moving image, sound and physical computing works, to software, websites, technical prototypes, performances, workshops and other kinds of public interventions.
For more information please visit our website: www.eyebeam.org/production/AIR/AIR.html.
To complete an online application please visit:www.eyebeam.org/production/AIR/onlineapp/join_detail.php?program_id=628438
Social Sculpture Commission: Eyebeam and the LMCC jointly offer a commission to support artists creating work that engages the public in new ways. These artistic interventions into social processes can take a variety of forms, including gaming, tactical media, network, interactive installation, moving image or conceptual projects that blur traditional boundaries between production, education and exhibition. Though projects will culminate in some form of final work/intervention/demonstration, the process by which these experiences come about will be strongly considered.
The program, running from March - August '05, provides a grant of digital production services at Eyebeam's studios (including moving image / sound production, programming and systems design), a stipend of $20,000 for producing the work, and public development support from LMCC.
For more information please visit our website, www.eyebeam.org/production/MID/commission/socialsculpture.html
To complete an online application please visit:www.eyebeam.org/production/AIR/onlineapp/join_detail.php?program_id=496693
For more information on Eyebeam and upcoming events and programs please visit www.eyebeam.org.
Eyebeam's Artists in Residence Program is made possible through the generous support of Atlantic Foundation, the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, Alienware, the Jerome Foundation, the Greenwall Foundation, the LEF Foundation, the New York State Council on the Arts, a state agency, the Sony Corporation, Lily Whitall and the Avery Foundation.
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6. CALL FOR PAPERS, PRESENTATIONS, PERFORMANCES: "(Im)permanence: Cultures in/out of Time" (USA)
Deadline: February 16, 2005; Source: School of Art, Carnegie Mellon
The Center for the Arts in Society at Carnegie Mellon University announces an interdisciplinary, international conference on (Im)permanence: Cultures in/out of Time scheduled for October 2005. This conference will bring practicing artists in all fields of the visual and performing arts, scholars in the various humanities, together with experts in curation and preservation to address the relationship between art and time both historically and in the contemporary world. Issues will be addressed in papers, exhibits, artistic productions, and informal performances, with the goal of achieving lively dialogue across disciplines, cultures, and media.
I. Permanence/Impermanence: Much of twentieth- and twenty-first-century art questions the notion of permanence and celebrates art&Mac226;s transience and impermanence. If modernity/modernism implies a break with the permanence enshrined by tradition, the movement also recalls earlier moments of rebellion against tradition leading to radical revisions in aesthetic and cultural assumptions. Questions under this topic include:
- If art is presumed to be lasting, what constitutes duration?
- Does the notion of "authenticity" imply a particular mode of production or of preservation?
- Under what circumstances does an artist or a group choose transience rather than permanence in its artistic expression?
- How far do art works and cultural expressions address the unknown and the future, reconceptualizing "time" altogether?
II. The creation and curation of ephemera: At the same time that many contemporary artists celebrate the notion of the ephemeral, the practice of curatorship is, by definition, invested in the ethic of permanence. The ethic may not be shared by conservators or by the consumers of art in any of its forms. Questions under this topic include:
Who creates and who curates the "vanishing," and why?
What are the differences between creating and curating an "eternal" object and an object made to disappear?
- Does it violate the spirit of performance art, process art, or self-destroying art to render these permanent through documentation?
- Does the notion of curation or preservation contradict the essence of such an ephemeral object?
- What dilemmas do creators and curators face, given the ravages of time and, simultaneously, the development of new technological responses to erosion, cracking, fading, and so forth?
- In what ways have the various art forms developed convergent or divergent notions of ephemerality and permanence?
III. What is cultural continuity? In preliterate cultures, continuity of identity and custom was preserved through memorization, ritual performance, drawing, and the persistence of objects in the social and natural environment. Literate cultures have increasingly understood continuity as the fixation of words on paper or in other reproducible media. Changes in technology (such as photography and film) can change the meaning of the past, and preservation can privilege the past over the present. Questions for this topic include:
- How do creators, conservators, historians, spectators, and audiences understand "continuity?"
- Are there differences between the continuity of an individual artwork and the continuity of a cultural monument--or of an entire culture?
- Is "popular culture" a distinct source of continuity?
IV. Conflicts about Preservation: While some groups proclaim an ethic of preserving cultural heritages, others assert the right to destroy them or preserve them selectively. In 2000, for instance, the international community argued for the protection of the Bamiyan stone Buddhas, but the Taliban insisted on their destruction. Museums around the world preserve objects that indigenous cultures claim as their own possessions and indeed consider sacred. Tourist and ethnic minority agencies, in China for example, preserve folk music and local costume but in the process simplify religious meanings. These developments raise provocative questions:
- On what grounds do certain groups claim the right to preserve or destroy certain objects?
- What priorities do global bodies and local governments uphold in preservation issues and with what unanticipated results?
- What incidental factors (war, natural disaster, and so forth) and legal or trade arrangements impinge upon notions of permanence/impermanence?
- Who controls cultural time?
We expect conference papers to address one or more of the proposed issues by examining in context a particular case or group of cases. Art works, performances, and exhibits also must examine or illuminate one of the major themes of the conference. All submissions will be judged on the basis of their contribution to the main theme of the Conference, and will be evaluated by experts in the field. One-page proposals in English should be sent by February 16, 2005 to:
Dr. Judith Schachter, Director
Center for the Arts in Society
History Department--240 Baker Hall
Carnegie Mellon University
Pittsburgh, PA 15213-3890
The organizing committee for the conference will also consider proposals for panels consisting of three presenters and a commentator. Presenters will be notified in late March 2005 about the committee&Mac226;s selection of abstracts and panels. Selected conference papers are expected to be published in a special volume, while performances, exhibits, and installations will be documented for electronic distribution. The volume and other forms of publication from (Im)permanence: Cultures in/out of time should appear in early 2007.
(Im)permanence: Cultures in/out of time is not only a conference but also will be an artistic presence in the city of Pittsburgh. Theatrical performances, musical events, and artistic exhibitions are being planned to coincide with the conference. Various staging sites will be selected, to diversify the experience and to include the public fully in the events. Information about conference registration, hotel accommodations, and tickets for cultural events will be sent to all presenters by August 2005.
Susanne Slavick
Andrew W. Mellon Professor of Art
Head, School of Art
Carnegie Mellon
5000 Forbes Avenue
Pittsburgh, PA 15213
412.268.7155
412.268.7187 FAX
http://artscool.cfa.cmu.edu/~slavick
http://artserver.cfa.cmu.edu
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7. CALL FOR PAPERS: "Beyond the Object" York Art History Graduate Students Assn (Toronto)
Deadline: February 21, 2005; Source: Instant Coffee
The Art History Graduate Students Association at York University will host the department's third annual multidisciplinary symposium on April 7, 2005. We invite submissions from graduate students working in areas that relate to the value and meaning of objects in contemporary cultural discourse.
We encourage submissions that:
-Challenge the traditional opposition of art to mass-production
-Reconsider the modernist rhetoric of presence in light of the rapidly expanding field of digital culture.
-Question the relationship between mass culture and the singular object.
-Explore the shift from object analysis to an interest in social and political context.
-Discuss the role of traditional art objects in the context of the institutions, individuals and groups that produce, present and interpret them.
-Examine the effects of rapidly proliferating new technologies on our understanding of the object.
- Consider recent trends in the commodification of objects in light of the growing interest in collecting historical conceptual art.
Please forward abstracts of no more than 500 words to yorkarthistory@yahoo.ca by February 21.
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8. CALL FOR PROPOSALS (ELECTRONIC MEDIA): EAST 05 (UK)
Deadline: February 26, 2005; Source: Artsadmin E-digest Issue 160
EAST 05 will not be object based on principle...the art exhibition without the art. EAST 05 is perceived by the slector Gustav Metzger as a vision of the world formed by artists and artists’ groups...dealing with crucial economic, political and ethical issues facing us all, artists are asked to look at the ‘extremes’ of our world...artists around the world can use EAST 05 to realise their control over communication media in real time. Norwich will be a creative hub, receiving, mixing and broadcasting 24 hours a day through radio, t.v., internet, email, print, film, sound, actions, text and cell phones... EAST is an international open submission exhibition, held annually at Norwich Gallery and Norwich School of Art and Design. There are no rules about who may apply. All the works that will feature in EAST 05, visual or aural, must be transmittable through the internet or other electronic media. One of the objectives of EAST 05 is to challenge artists to extend their practice. We are looking for projects in real time of lengthy duration and which will stretch the limits of presently available technology. The project will need to be transmitted to EAST 05 in Norwich for the seven weeks of the exhibition. We will work with the selected artists to develop ways in which their ideas can be presented through the opportunities offered by new media. All the work in the exhibition will be presented through electronic media. Please note in this exhibition no actual 3 dimensional works, sculptures, drawings, film or videos will be exhibited. So please do not submit this material.
Submissions by 26 February 2005. Exhibition 2 July to 20 August. For more information please contact east@norwichgallery.co.uk or call 01603 756247
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9. CALL FOR SUBMISSIONS: "Pure Research 05" Nightswinning (Toronto)
Deadline: March 1, 2005; Source: Nightswimming
There are few places in Canada where in-depth theatrical research can be explored without the pressures of developing and/or performing a new work. Nightswimming's unique Pure Research program provides space, money and resources to artists who are pursuing a provocative theatrical question.
Now in its third year, Pure Research is designed to foster theatrical experiments which are not specifically linked to the creation of new work. In the spirit of inquiry, we assist artists in discovering what they need to explore, in order to further their work. We want you to tell us what you don't know, and how you might be able to answer your questions through a Pure Research workshop.
What does that mean?
If you have a theatrical question, and can pose it in terms of an experiment, then we're interested. We will supply studio space for up to three days, a $1000 fee for the lead researcher and a small budget (up to $2000) for cast and materials.
Recent Pure Research workshops included:
* Voice, Music and Narrative Theatre by Martin Julien (experimentation with the influence of live vocal musical sound on theatrical narrative);
* Beneath the Poetry: Magic not Meaning by Kate Hennig (an exploration of voice for the theatre, investigating alternative models of illuminating text in rehearsal);
* Singing to Speaking by Guillaume Bernardi (examining the moment of transition from speech to song);
* Hello! Sound, Voice and Connection by Heather Nicol (in which a visual artist worked with actors to explore improvised vocal texts and abstract sound).
All Pure Research projects are documented and the results posted on Nightswimming's website. Researchers are required to submit a full report within one month of completing their experiment. Nightswimming staff will be present to observe and to offer assistance as required.
The Details:
* Submission Deadline: March 1, 2005
* Pure Research projects will be held in Toronto in October 2005
* You must be available during this period.
* Please read carefully the submission criteria below.
* Visit http://www.nightswimmingtheatre.com for more information.
Pure Research Submission Process
We need a concise but detailed proposal outlining:
* your question and what you want to learn from it
* how you intend to conduct the experiment - this is the most important section of the application
* practical details such as time, people and equipment required
* any relevant support material such as text or prior research
We are particularly interested in:
* exploring poetic or stylized text in any form or genre
* integration of sound, movement, technology and text
* artists who view research and development as a long-term process, rather than simply as a short-cut to production
* an artistic spirit of inquiry
What to send us:
* a cover letter introducing yourself and defining the application: preferred dates, amount of time requested, budget, specific goals
* a project description of no more than two pages
* a list of collaborators, if known
* c.v. of principal artist
* videos: only to introduce us to physical artists. Please provide a brief explanation of where and when the video was shot
* do not send press clippings, photos, programs, press kits or folders
Also:
* be honest about what you know, what you don't know, what you want, and what you'd like to achieve
* Remember that it is not a developmental workshop for a new piece of theatre
* all applicants will be informed of results by mail in June 2005
* please provide a self-addressed, stamped envelope if you want your material returned
* before making our final decisions we will contact those whose submissions intrigue us; we may ask shortlisted applicants for further information or a more detailed proposal
* applications from artists outside Canada are welcomed, but the realities of our budget means we will focus on Canadian submissions
* note: applications will not be accepted by email or fax
Please send applications to:
Brian Quirt, Artistic Director
Nightswimming
55 Mill Street, #310 The Case Goods Warehouse,
Toronto, ON, M5A 3C4, Canada
Thanks for your interest in Pure Research. We look forward to reading your application.
Nightswimming is a dramaturgical company dedicated to exploring the boundaries of dramaturgy and performance. We commission and develop new works of theatre, dance and music. For more information, or if you have questions about applying, contact us at http://www.nightswimmingtheatre.com.
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10. CALL FOR PROPOSALS: "Vacant Lots" Toronto Free Gallery
Deadline: April 1, 2005; Source: Instant Coffee
Toronto Free Gallery is excited to present Vacant Lots: an exploration of vacant spaces in the city. We invite people to find a vacant space or lot and respond to it in some way.
How does that vacancy resonate throughout the city?
Are vacant spaces nothing more than urban graveyards of the used-to-be?
Can vacant spaces be more than their own emptiness? Can they be re-invented, re-utilized, or re-integrated into public space?
We are accepting work in all disciplines. Performance and site-specific work is encouraged. We intend to create maps leading to the sites with scheduled performances during the dates of the exhibition. If the work is performance based or site-specific there must be some link that exists within the gallery throughout the life of the show.
Deadline: April 1, 2005
For more information please contact Heather Haynes at 416-913-0461.
Please submit the following:
· CV
· Statement of intent
· 5-15 images of work (for visual arts)
We accept the following formats:
· slides
· photographs
· digital images
· CD-ROMS
· videos
· DVDs
· and if you have another format contact us and we will try to accommodate your needs.
Proposals can be sent via post to:
660 Queen Street East
Toronto ON M4M 1G5
Or by email to:
heather@torontofreegallery.org
If you have any questions please contact us at 416-913-0461
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11. CALL FOR PROPOSALS: "Travelling" Wonders of the Prairie Festival (Germany)
Deadline: May, 2005; Source: zeitraum_ex!t büro für kunst e.v.
"Wonders of the Prairie“ stands for international, experimental, and extraordinary art projects which bring together fine and performing arts. "Wonders of the Prairie“ occurs in art rooms, uses and animates urban spaces and is a fixed element of urban life in the region.
The Theme: "Travelling“
Being abroad always brings with it emotional experiences. Travelling helps to nourish our senses, travelling means leaving to what you are used to and is connected with the effort to get involved into something new. Travelling is movement, often connected with the longing for change. Travelling is departure, passage, arrival.
Search for Happiness
Year by year millions of people rush into vacation. What are their motives? People link holidays with wishes, utopia and dreams of another, better world. The mythical, symbolic and ritual character of travelling is the most popular form of the search for happiness.
Travelling as Discovery – Artists as Travellers
Exploring travelling as physical and psychic movement; encountering of the foreign; perceiving oneself as foreign.
Travelling Involuntarily
Year by year people are forced to give up their homes for the dream of a life without hunger, without oppression, without war. The larger the gap between "rich“ and "poor“ countries is growing, the larger the efforts of the “poor” to get into the “Promised Land”.
In Focus are the antipodes "voluntary“ travelling (tourism, travelling as art form) and "involuntary” travelling (escape, expulsion).
The Festival will take place from Wednesday, September 14 to Saturday, September 24, 2005.
Festival Venues
Mannheim Central Station
City of Mannheim: pedestrian precinct, public places
"Strandbad“ (banks of the Rhine)
Moorings at the Rhine and the Neckar
Travel agency
zeitraum_ex!t Büro für Kunst and other exhibition rooms
Events
Exhibitions
Films
Performance art
Theatre projects
Lectures and discussions with the audience
Deadline: May, 2005 (date of the postmark)
Applications / Proposals should be sent to: zeitraum_ex!t Büro für Kunst, Lange Rötterstraße 23, 68167 Mannheim
Artistic Directors: Gabriele Oßwald, Wolfgang Sautermeister, Elke Schmid, Tilo Schwarz
Applications should consist of:
Meaningful concept (video, pictures, text)
CV
Scheme of costs
Technical requirements
Sufficiently stamped answer envelope
Applications without a sufficiently stamped return envelope will not be returned and not kept in archive!
We do not accept e-mail applications!
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Fado is pleased to acknowledge the support of the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage for their sponsorship of our ongoing activities.
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