Yearly Archives: 2016

Open Call Artists’ Development Programme : The Imprint of Man – Representing the Anthropocene.

Artists’ Development Programme

(Artists’ residencies and mentoring) European Investment Bank Institute

Deadline for application: 21 February 2016 at midnight (GMT+1)

European Investment Bank Institute

  • Boulevard Konrad Adenauer L-2950 Luxembourg

The European Investment Bank (EIB) Institute is pleased to announce the 2016 edition of its Artists’ Development Programme (ADP), targeting ONE visual artist (aged less than 35) from EU Member States focusing on “The Imprint of Man – Representing the Anthropocene”.

The ADP provides an opportunity for emerging visual artists to develop their practice during a month-long residency in Luxembourg by creating a new (body of) work(s). During this time, they will be mentored by acclaimed British artist Darren Almond.


  • Less than 35 years of age at the time of application
  • EU nationality
  • Fluency in English

Budget and duration

The EIB Institute will take over the artist’s travel costs to and from Luxembourg, to include a stopover to visit Darren Almond in London. The artist will receive a stipend (EUR 100 per day) and will be provided a living/working space. At the end of the residency, the participant will receive a success fee of EUR 1,500, provided he/she has produced an artwork. The duration of the residency in Luxembourg will be one month in June 2016.

Upon completion of the residency, the EIB might acquire the artwork(s), which was (were) produced on site, from the artist.

Application procedure


  • CV (in English)
  • Scanned copy of the passport or identity card of the applicant evidencing nationality of one of the 28 Member States
  • A paper detailing the project that would be produced during the residency, in line with the proposed theme (maximum 600 words, in English)
  • Portfolio of visual documentation of works best characterising the art of the applicant (in PDF, four A4 pages maximum)
  • Names and contact details of two professional referees, familiar with the art of the applicant
  • A brief reference in the body of the email to how the applicant found out about the programme

Selection procedure

A jury, consisting of members of the EIB Institute Arts Committee, external arts professionals and the mentor, will select the candidate based on the artistic quality of his/her work, motivation, potential to use the residency to maximum benefit and the relevance of the applicant’s practices to the cultural context of the EIB Institute.

The selected candidate will be informed of the jury’s result via email by beginning of April 2016.

Deadline for application: 21 February 2016 at midnight (GMT+1).

Any application which does not comply with the set requirements will be automatically eliminated.

The applications should be sent digitally to Ms. Delphine Munro (

About Darren Almond

About the European Investment Bank


About the EIB Institute’s Arts programme


About the ADP




Soil Culture Bringing the Arts down to Earth

Initiated by the Centre for Contemporary Art and the Natural World (CCANW), Soil Culture is a three year programme which reveals how arts and culture explore the vital, ecological importance of soil.

Soil Culture demonstrates the UK contribution to the United Nations International Year of Soils, 2015. The programme consists of various events, in particular 12 artist residencies (featuring Touchstone Collaborations, Bristol, and Karen Guthrie, among others) aimed at encouraging an exploration of the ecology and importance of soil.

The project has climaxed with a major group exhibition, Soil Culture: Deep Roots (Falmouth Art Gallery and Plymouth Peninsula Arts in 2015/16), which brings together the work of six important international environmental artists: Paolo Barrile, Mel Chin, herman de vries, Richard Long, Ana Mendieta, and Claire Pentecost.

The range of artworks includes work by Mel Chin, who uses plants to extract heavy metals from contaminated land, to that of Claire Pentecost who has sculpted soil into the shapes of gold ingots to reflect its true worth. Also featured are works by seven British artists, including Chris Drury, Andy Goldsworthy, and David Nash.

A Gaia Project and CCANW co-publication, this book documents all aspects of the Soil Culture programme and features exclusive essays.

– See more at:

Symposium: Language, Landscape and the Sublime

29/06/2016 – 30/06/2015

This two-day symposium draws together artists and thinkers from a wide range of disciplines to explore ways in which landscape –– and the ways we represent it –– connects deeply to our lives and underpins our relationship to the world.

The programme is now emerging and much of can be seen here. Places are going fast, but some regular tickets still remain. The price goes up after the end of February, so book now to get the best price.

Day 1 of the symposium takes place at Dartington Hall; the second day happens there also, with parallel sessions happening at nearbySharpham House. Find out more about the venues here. Unless you have your own car, you’ll have to choose between one or the other for the second day, so we’ve attempted to theme the sessions to help you choose. The Symposium takes places in one of the most beautiful parts of England, so stay the weekend and enjoy!

There is an associated residential short course being offered the week before the symposium, with poet Fiona Benson, sound artist Richard Povall and special guest artist Garry Fabian Miller. Find out more here.<

See more at:

Applications are now open for Fall 2016 Playa Residencies

“My time at Playa ranks as one of the most productive and artistically rewarding periods of my life. 

Whatever happened to me on my walks, in my conversations with staff and fellow cohorts, in my daily exposure to the natural world and its elements—it has led to a complete and utter rediscovery of how I write, why I write, and help me tap back into a creative force as a playwright that I haven’t felt in 10 years.”  Kevin Doyle (2014)

Applications are now open for Fall 2016 Residencies.

Deadline is March 1, 2015



PLAYA’s Fall 2016 Residency Application period is now open. The application deadline is March 1, 2016. 

The Fall 2016 residency season will run from August to mid-December 2016 (exact dates to be determined soon). All residency sessions will begin on a Monday and end on a Friday. Applicants may choose between periods of 2 week, 4 week, 6 week, or 8 week sessions. If you have questions regarding Playa’s residencies, or the application process, email us at

To apply, please read the following guidelines, then go to and follow the instructions.

On the edge of the Great Basin, PLAYA offers creative individuals the space, the solitude and the community 
to reflect and to engage their work through its residency program. PLAYA supports innovative thinking through work in the arts, literature, natural sciences and other fields of creative inquiry and encourages dialogue between disciplines to 
bring positive change to the environment and the world. 


Playa’s residencies are open to scientists, visual artists, writers, performing artists, naturalists, and individuals engaged in interdisciplinary work or other forms of creative research. Playa welcomes a range of applicants–from emerging artists of promise to professionals with an established history of accomplishment. However, applicants must exhibit a recent history of focused work within the discipline they are applying. In addition they must address, in the application, their ability to thrive in a remote, isolated community and be self-directed in their work. All residents’ work must be compatible with Playa’s available studio spaces, facilities, and resources, and with Playa’s rural setting and community (see policy below). Age, ethnicity, gender, or religious affiliation is not considered when reviewing applications for residencies.


A rotating panel of artists, writers, scientists and other professionals review proposals and recommend applicants for residencies. Applicants are assessed and admitted based on their demonstrated commitment to their work, and to what degree their creative process and work will benefit from the uninterrupted time and independent living environment that a residency at Playa provides. Final awards of residencies are at the discretion of Playa.

Application Deadlines

March 1, 2016 is the application deadline for Fall 2016 Residency awards. Award notifications will be made by April, 2016. Incomplete applications will not be reviewed. Completed applications and supporting materials must be submitted online at Playa does not accept  Residency Applications by email, regular mail, or fax.

Annually, we have two rotating application deadlines:

  • March 1 – for residencies occuring in the Fall (August – December) of that year.
  • September 1 – for residencies occurring in the Spring (January – June) of the following year.

There are no fees charged for a Playa Residency. However, your application must be accompanied by a $35.00 non-refundable processing fee ($70.00 if applying as a collaborative team of two or more) . If accepted each resident (including each member of a collaborative team) is asked to submit a $100.00 deposit, which is refunded following the completion of a residency and is not refundable if a residency is cancelled.

As a nonprofit organization, Playa relies on donations and encourages those who have the ability to contribute to do so. You may donate online through the website, mail in a donation, or choose to donate your $100.00 deposit.

Session Schedule

All regular residency sessions (excluding special Invitational Residencies) begin on a Monday and end on a Friday. Applicants may choose between 2 week, 4 week, 6 week or 8 week periods. Competition for residency periods varies due to season and the number of applications received. While every effort is made to accommodate applicants’ schedule requests, we are not always able to grant your choices. Please indicate flexibility and restrictions on your application.

Facilities and Lodging

Each resident is provided housing with a kitchen, and a place to work–either a studio or a desk area in their cabin. Except for twice a week group dinners, all meals and provisions are the responsibility of the artist. Living, work, and studio spaces have standard utilities, abundant natural light, open vistas in an expansive landscape, and are free of telephone, television, and Internet. The Commons building has a commercial kitchen, a space for yoga or dancing, a ping-pong table, and a loft work area with a projection screen.

“Artists need expansive thoughts. Playa’s landscapes, spirit and mission stretched me in unparalleled ways–beyond other wonderful fellowships. 
I am a poet who delved into neuroscience during my too-short Playa stay.”
–Catharine Woodard


If applying as a collaborative team, please have one person listed as the main applicant. As a collaborative team you MUST include the following in your statement of project: group name (if applicable), a list of all participating members, and your specific needs for lodging and workspace. In addition, each member must supply an individual resume as part of the group application.


Couples may apply individually for concurrent residencies, with the understanding that one applicant might be accepted and the other not. Every artist accepted for a residency will be offered a private studio unless applying as a collaborative team. If requesting accommodations as a couple, each applicant must state this explicitly on their application.

Work Sample Requirements

All Disciplines

Current work is requested. The nature of the work sample submitted should correspond to the nature of the work you propose to do while in residence. An applicant’s work sample is the most significant feature of the application. Unless work is interdisciplinary, each applicant is encouraged to apply in a primary creative discipline and submit a work sample and statement of project which emphasizes this single discipline.

Visual Art

Provide 10-15 images in JPEG format along with a document that contains your name, and lists the JPEG filename, title, medium, size and year of completion for each image. JPEG files should be at least 800×600 pixels and formatted to 72dpi. NO TIFF OR PSD FILES ACCEPTED. Each filename must be numbered and correspond to the accompanying work-sample description document.


Your writing sample should be representative of the genre in which you plan to work while in residence. Provide one document that contains a sample as follows:

  • Fiction: 20 pages of a novel excerpt, a story, or short stories.
  • Poetry: 10 pages of poetry.
  • Nonfiction: 20 pages of nonfiction.
  • Playwriting: one complete play.
  • Screen writing: one complete screenplay.

Include in this document a cover page that contains the applicant’s name, and lists the title and date of completion for each sample.


Provide three separate works of 10 – 15 minutes each in audio or video format along with one document that lists the filename, title, and year of completion for each work, and that clearly summarizes the applicant’s role on the work. Film/video scriptwriters should also send a script.

Scientist/Naturalist/Creative Research

Provide one document that contains up to 10 pages of abstracts, excerpts, links to publications or short papers that are representative of your work. Include in this document a cover page that contains your name, lists the title and date of completion for each work, and a description of your area of research.


If your project does not fall clearly within one of the above disciplines, please send an email to the Residency Manager at to discuss an appropriate work sample.

About the process

I know there is a bit of confusion, mystery or even skepticism surrounding the application/selection process. Who makes these choices? Why didn’t they see the value of MY project? Are only established artists chosen? I will attempt to clarify what really goes on for those of you who are curious about the decision making process at PLAYA.

  1. Applicants, whether individuals or collaborative teams, submit materials online through Submittable, an online platform that allows a panel of professionals (from different locations across the country) access to multiple applicant’s work samples, resumes, project statements and other support materials.
  2. The panel (whose membership rotates every two years) is made up of diverse professionals in a variety of fields and each applicant is reviewed by multiple members. It’s a difficult but incredibly rewarding process. The selection panel has to examine large numbers of work samples consisting of portfolios (of approximately 10 images each) and/or manuscripts and videos, as well as reading through in depth artist statements, explore an applicant’s history of accomplishments on resumes, and….read project proposals which contain each applicant’s aspirations of how time at Playa might influence their work or lives.
  3. A scoring rubric is used (although nothing is ideal) which helps when considering an applicant’s previous work, the project proposal, the benefits a residency at Playa might provide and more.
  4. Once these applications are scored independently, recommendations made and forwarded to me, I tally all votes and compile a prioritized list. I then begin the task of assigning individuals into living spaces and additional studios, within the spring calendar considering their first choices for dates, length of stay and studio requirements. So there is a great deal of unforeseen “chance” built into the process in regards to number and quality of applicant pool, studio needs, and availability.
  5. Then the notifications begin. Meanwhile things have come up in real life for many of these applicants and occasionally some have to decline or shift dates, and then we move on down the list, which is why everyone doesn’t hear the results at the same time.

I hope this alleviates at least a little of the anxiety for applicants around this process. The process is not perfect, but we do the best we can. It’s PLAYA’s mission to support a variety of creative research, not discourage it. We understand that it can be very hard to take anything that might seem like rejection lightly. But sometimes, considering all aspects of the process might shed light on the reasons an applicant wasn’t selected at this time… competition could be very stiff (very strong applicant pool), or you might need a little practice in articulating what you hope to achieve, or maybe just a little more experience in your art practice…. or maybe you requested the most popular time period…but don’t give up.

NEW Policy affecting residents of Playa:

Following is information regarding Playa’s policy for site specific artworks, installations or other processes on the grounds that might affect the environment, habitats or other species. If your work at PLAYA includes any processes that may result in changes (immediate or long-term) to the visual, physical or aesthetic environment of PLAYA, you must first receive prior approval from the Executive Director. Activities include, but are not limited to relocating earth (rocks, sand or other), cutting or removal of plants, and/or using technology that might adversely affect biotic species (or the tranquility of the Playa experience).


Sustainable Cultural Management International Intensive Summer Course 6 – 10 June 2016 

Open call for applications

(deadline: 15 March 2016)

Dear colleagues, dear friends, We are very happy to announce that the first International Intensive Summer Course on

Sustainable Cultural Management 

will take place in Thessaloniki, Greece from 6 to 10 June 2016

This intensive course is designed to share the environmental best practice identified by and for the performing arts and to explore what actions can be taken to become more ecological in the way we govern cultural organisations, manage buildings, create and tour productions, collaborate with partners, and engage with audiences.

Experts from across Europe and the world will share their experience and best practice, and participants will come away with new skills and perspectives to manage their work effectively in the context of environmental sustainability and climate change.

The course is organised by  mitos21 the network representing some of the most influential national theatres and theatre institutions in Europe (, Julie’s Bicycle the UK based, leading global charity, bridging the gap between environmental sustainability and the creative industries (, and the Aristotle University of Thessaloniki (School of Mechanical Engineering)

For more information and in order to apply, please visit our website:

If you wish to contact the organisers:

Associate partners:

Heinrich Boell Stiftung Greece, Goethe Institut Thessaloniki, Center for Sustainable Practice in the Arts – USA,  Laznia Nowa Theatre – Krakow, Thessaloniki Concert Hall

Opportunity for Funding

This post comes from Creative Carbon Scotland

The Climate Challenge Fund is now OPEN for applications.

The Scottish Government has made £10.3 million of funding available through the Climate Challenge Fund (CCF).

Community-led organisations are invited to apply for CCF funding to run one year projects with a start date of 1 April 2016 and completion date of 31 March 2017. Grants of up to £150,000 are available per project.

Application deadline: February 19th @ 5pm.

Visit their website for more information and how to apply.

The post Opportunity for Funding appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Opportunity: Travelling Artist Residency

This post comes from Creative Carbon Scotland

This post comes from Access Gallery.

Access Gallery, in partnership with Burrard Arts Foundation, invites submissions for the second year of its Travelling Artist Residency Program, Twenty-Three Days at Sea. Twenty-Three Days at Sea grants selected emergent visual artists passage aboard cargo ships sailing from Vancouver, Canada to Shanghai. Crossing the Pacific Ocean takes approximately twenty-three days, during which time the artist will be considered “in residence” aboard the vessel.

There are many hundreds of residency programs worldwide. Twenty-Three Days at Sea follows the “aberrant” turn in artist residencies, in that it imposes specific conditions and constraints (the strictures of the port; the solitude of the freighter cabin; the expanse of the open sea) that will, in turn shape artists’ ideas and work. It offers the opportunity to integrate critical and creative practices into a new set of parameters, and the potential of challenging established routines, activities and assumptions. At its base, Twenty-Three Days at Sea asks artists to question what constitutes creative space, and to consider how time is experienced over the highly charged, yet largely invisible, spatial trajectory of a trans-Pacific shipping route. It offers a profoundly generative time and space—in the unconventional studio space of the cargo ship cabin—for focused research and the creation of provocative new ideas and work. For the 2016-17 year, successful candidates will sail on separate freighters between the months of June and September, 2016.

The aim of this residency program is to generate a new work or body of work (which, depending upon the artists’ practices, may take place aboard the vessel or in the months following) in response to the sea voyage, which will then be exhibited before audiences at Access Gallery in the following months. For the extent of the residency voyage, artists will also be requested to keep a daily “log.” Subsequently published by Access, these logbooks will accumulate as an ongoing collection of bookworks, chronicling diverse responses to a shared experience of being at sea.

Applicants are encouraged to propose projects that consider issues resonant with sea travel and with the ubiquitous but, for most of us, largely invisible world of the global shipping industry. These may include, but are by no means limited to, matters of trans-Pacific connectivity, traffic and trade; maritime histories and culture; and, significantly, notions of time and space, since crossing a great expanse of water is experienced far differently on an ocean vessel than by more conventional air travel.

Submission guidelines:

  • one page cv
  • artist statement (maximum 250 words)
  • a residency proposal (maximum 250 words) accompanied by a maximum of 5 images (if applicable)
  • maximum 10 images (or hyperlinked videos) of relevant previous work
  • please format your proposal into a single pdf (under 20 mb)

Submit to: 

Deadline:February 15, 2016

The post Opportunity: Travelling Artist Residency appeared first on Creative Carbon Scotland.


Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

Open Call: Designs for Climate Change Theatre

Featue Image: CCTA with Box Collective

The CLIMATE CHANGE THEATRE ACTION (CCTA) was a series of worldwide readings and performances intended to bring awareness to, and foster discussion around, climate change in November and December of 2015. This action was organized in support of the United Nations 2015 Paris Climate Conference (COP21). We are looking to extend the impact of this project by following it up with a conceptual design charette towards publishing a conceptual design spread for each of the plays included in the original CCTA.

CCTA at Pomona College

CCTA at Pomona College

We seek conceptual renderings, drafting, sketches, collages, and visual development work in response to the plays in the CCTA. Selected submissions will be included in a published, hardcopy, volume from the Center for Sustainable Practice in the Arts (CSPA). Each design will receive a full colour tabloid sized (11″x17″) spread in the published document. Set, costume, lighting, media, video, and projection designers and design teams are encouraged to submit ideas for consideration by the curators of the CCTA and associates of the CSPA. Sound and aural designs are welcome and will be included in a possible companion CD or hosted on a dedicated sub-site of the CSPA for this project. Designers and design teams may submit as many concept proposals as they’d like, but only one concept will be selected for each of the shows.

To apply, please follow this link to submit a short (100 – 250 word) concept statement highlighting your thematic and aesthetic approach, as well as how your design itself connects to sustainability in it’s proposed form and a link to previous work by March 30th, 2016. 

CCTA at Reed College

CCTA at Reed College

We will make a determination on the inclusions of the designer for each of the short plays April 30th, 2016. We will then work with each of the designers whose concepts have been accepted  to complete the published volume in Summer 2016.

Each designer included in the the published volume will receive a hardcopy of the finished publication and a one year subscription to the CSPA.

CCTA at the People Hood

CCTA at the People Hood

The CCTA was modelled on previous NoPassport theatre actions focused on gun control and the aftermath of the Deepwater Horizon BP oil spill. CCTA draws on the expertise and resources of local artists, while being global in scope and uniting multiple countries and culture around a common issue.

The CCTA consists of a collection of 1-5 minute plays, songs and poems by writers from all six livable continents, curated by Caridad Svich, Chantal Bilodeau and Elaine Avila. Over 100 collaborators from more than 20 countries hosted events ranging from informal readings in classrooms to day-long festivals, from radio programs and film adaptations to site-specific performances at the foot of glaciers. Events were registered with ArtCOP21 and, when technically possible, livestreamed on HowlRound TV.

Click here to access the plays

Click here to access the submission form

Here are some excellent resources to get you started: