Yearly Archives: 2020

Open Call: New Creative New Zealand artist residency in Fiji focuses on climate change in Oceania

Creative New Zealand’s latest artist residency in Fiji is now open for proposals from mid-career or established Aotearoa-based artists of Pasifika heritage to work on an arts project themed around climate change.

The new partnership with the University of the South Pacific (USP) in Suva has been established as part of the Pacific Arts Strategy 2018 – 2023.

The successful applicant will be based at the Oceania Centre over three months from August to October 2020.

The main aims of the residency are to:

  • allow the artist to share their skills with the Fijian arts community and to develop a deeper understanding of Fijian culture, arts practice and the arts community across Oceania
  • encourage the development of contemporary arts skills among students and peers at the Oceania Centre, Fijian artists and the wider community through their engagement with the selected artist
  • build professional networks in Fiji and across Oceania for future opportunities.

Arts Council member Luamanuvao Dame Winnie Laban says that it’s an exciting development as part of the Pacific Arts Strategy to continue to foster cultural exchange between New Zealand and Fiji.

“This is a first for Creative New Zealand and the Arts Council of New Zealand Toi Aotearoa, where we can provide support for an artist and their project focusing on such an important global issue, especially for our peoples across Oceania.”

Director for the Oceania Centre for Arts, Culture and Pacific Studies Frances Koya Vaka’uta says, “It offers a wonderful opportunity for the recipient artist and for the arts community in Fiji and the USP region.”

“We also look forward to exploring new ways of engaging in arts discourse not just between the artists in the islands and Pasifika artists in New Zealand but also about their arts practice. The success of this first offering will help us to shape similar island-based initiatives for other member countries of the University in the future,” she says.

Creative New Zealand is investing $25,000 for the residency in 2020. Find more information on our website.

Key dates:
  • Fund opens for applications: 24 January 2020
  • Applications close: 3 April 2020
  • Notify results: 22 May 2020

For funding queries and advice on applying to the fund, please contact:

Simonne Likio
Funding Services Adviser 
Freephone: 0800 273 284
E: simonne.likio@creativenz.govt.nz  

For media queries please contact:

Paul Lisi
Senior Communications Adviser – Pacific
Creative New Zealand | Toi Aotearoa
Mob: +64 27 218 6382 | DDI: +64 9 373 3090
E: paul.lisi@creativenz.govt.nz | W: creativenz.govt.nz

Open Call: Artist-in-Residence Program at Potsdam Institute for Climate Impact Research

Berliner Künstlerprogramm des DAAD (Berlin, Germany)

Application deadline: March 8, 2020 

Potsdam Institute for Climate Impact Research
Telegrafenberg 
14473 Potsdam
Germany 

www.berliner-kuenstlerprogramm.de
www.pik-potsdam.de
Facebook / Facebook / Twitter

Climate change is no longer a scientific, but a societal and policy problem. Consequently, various societal groups need to be involved in solution development as well as in debates on what sustainability may look like. To foster exchange and discussion between artists and scientists, the DAAD Artists-in-Berlin Program, the Potsdam Institute for Climate Impact Research (PIK) and the City of Potsdam Department of Culture and Museums have joined resources to offer an artistic residency at PIK.

Founded in 1992, PIK addresses crucial scientific questions in the fields of global change, climate impact and sustainable development. Researchers from the natural and social sciences work together to generate interdisciplinary insights and to provide society with sound information for decision making. The main methodologies are systems and scenarios analysis, modelling, computer simulation and data integration. The historic buildings of the institute and its high-performance computers are located on Potsdam’s Telegrafenberg campus, a unique ensemble of research facilities built in the nineteenth century. Since 2011, PIK has used the building formerly housing the “small photographic refractor” as a studio for visiting artists and as a place for scientists and artists to come together.

Artists-in-residence at PIK are provided with accommodations in the city of Potsdam and studio space at PIK, as well as a stipend paid in three monthly installments in order to offset living expenses and costs for materials and travel. During their residency, guest artists are expected to interact with the scientific community and present their work to the public in Potsdam and Berlin.

Applications are welcome from international contemporary artists working in a wide range of disciplines including visual art, film, literature, music/sound, curating, design and theory. This year, the residency will take place for a three-month period from September to November 2020. Awardees are selected by representatives from the DAAD Artists-in-Berlin Program, the City of Potsdam Department of Culture and Museums and PIK, along with two independent jury members.

To apply, please submit the following documents via email only:
(1) Letter of motivation outlining your research interest and what mutual benefits you would like to see
(2) Letter of recommendation (from an institution or person)
(3) Your CV and portfolio

All documents must be in PDF format, 9MB max filesize
Please submit to: residency.berlin@daad.de

The PIK Artists-in-Residence Program is a cooperative project between the Potsdam Institute for Climate Impact Research, the DAAD Artists-in-Berlin Program and the state capital of Potsdam and is financed by funds from the German Federal Foreign Office and the state capital of Potsdam.

(Top photo: Margret Boysen. Potsdam Institute for Climate Impact Research photographic refractor.)

Come to the Table

On Sunday 16 February 2020 starting at 5 PM Spatula&Barcode will host the first of four dinner conversations about Generosity in the Rowland Gallery of the Chazen Museum (University of Wisconsin campus in Madison). As part of our project Come to the Table, we will discuss the theme of Care with the following guests:

Adam Rindfleisch

Anne Basting

Annie Menzel

Darcy Padilla

Chris Garlough

James McMaster

Katherine Alcauskas

Seats at the table are limited to the above list of invited conversants but the public is welcome in the gallery to witness the event.

Upcoming conversations:

 8 March, 5 PM, Hospitality
29 March, 5 PM, Philanthropy
26 April, 5 PM, Refuge

(Top Photo: Laurie Beth Clark and Michael Peterson’s family dinner table in the museum with The Last Supper I and The Last Supper II by Faisal Abdu’Allah and Kofi Allen)

Protest Portals for the Pacific Connector Pipeline

Located along a surveyed route for the proposed Pacific Connector Pipeline, which is planned for moving fracked gas from Canada to the US Pacific Coast for export to Asia, stands three pavilions, or portals, created by environmental architect Erin Moore, from Eugene, Oregon, along with her research practice team known as FLOAT. Completed last fall 2019, these installations were sited in the landscape as a direct action in resistance to the proposed pipeline, as well as a way to provide multi-species sheltering. The works combine speculative design and habitat architecture, along with activism and ecological aesthetics.

All three portals were constructed on private land owned by community members who are vehemently against the expropriation of their land. Each site is ecologically rich including an estuary, a wetland, and a riparian zone. One of the landowners was arrested for trespassing at the Oregon State Capitol in November where protesters staged a sit-in, not something she had ever done before [more HERE]. The pipeline, if built, will run right through a completed salmon restoration on a creek adjacent to and in including her pasture. Another landowner who will lose his property due to eminent domain is the subject of a video interview online sharing the path the pipeline with take through his family land.

Haynes Inlet Portal. Photo: David Paul Bayles

“The portals visibly place something of value in the path of potential destruction,” states FLOAT. These structures also serve as a metaphor, a circular form that presents an alternative to carrying oil, offering a transformative space for both animals and humans to contemplate the fate of lands that will potentially be abused in the name of progress. Locally harvested soft rush (Juncus effuses) and tule (Schoenoplectus acutus) is thatched around the exterior of the portals, filtering rainwater and collecting moisture and nutrients that are helpful for hosting non human species.

Salmon Portal on Fate Creek, Oregon. This portal sits in the riparian zone along a restored salmon spawning bed.

From FLOAT:

The Portals are intended to transform perceptions of these places by demonstrating their value in terms of ecological holism, nutrient cycling, multi-species sheltering, and habitat biodiversity rather than in terms of extraction and profit. In this way, and as they subvert extraction-based power structures.

The Portals are intended to choreograph the human experience of time as cyclical—in weather, tides, water levels, and planetary movement, and as material decays and accumulates. In this way, the pavilions draw attention to the simultaneous ecological past and future of these lands.

The Portals are located on land that is within the traditional homelands of the Coos, Coquille and Upper Umpqua peoples who were forcibly removed from these lands by the United States government. Today, descendants are citizens of the Confederated Tribes of the Coos, Lower Umpqua & Siuslaw Indians, the Coquille Indian Tribe, and the Cow Creek Band of Umpqua Tribe.

The Portals were designed by Erin E. Moore and were constructed by members of Moore’s research practice FLOAT (Construction project management: Chris White; Fabrication and installation: Mike Kwilos (lead), Serena Lim, Andrew Loia, Zach Bradby, Molly Winter).

The Portals are located in Southern Oregon. Each are about 2 hours by car from the Eugene, Oregon airport. Hosted site visits are welcome with prior arrangement. 

Portal in Coquille River Watershed on a wetland site. The middle of three along the route of the proposed Pacific Connector Pipeline.  Photo: FLOAT

(Top photo: Haynes Inlet Portal on the Coos Bay, Oregon. Finished in October 2019, at low tide dawn. David Paul Bayles.)

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ecoartapace ecoartspace is a nonprofit platform providing opportunities for artists who address the human/nature relationship in the visual arts. Since 1999 they have collaborated with over 150 organizations to produce more than 40 exhibitions, 100 programs, working with 400 + artists in 15 states nationally and 8 countries internationally. Currently they are developing a media archive of video interviews with artists and collection of exhibitions ephemera for research purposes. Patricia Watts is founder and west coast curator. Amy Lipton is east coast curator and director of the ecoartspace NYC project room.

A project of the Social and Environmental Entrepreneurs since 1999

Go to EcoArtSpace

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Open Call: Dance Exchange 2020 Summer Institute

OAC: 2020 Summer Institute

July 10-17, 2020
Takoma Park, Maryland

General Rate: $850 | Alumni Rate: $750

*Limited Work/Study & Scholarship available 

Please contact Sam Horning at samh@danceexchange.org 

Part of our Organizing with Artists for Change initiative, the Dance Exchange OAC: Summer Institute embraces process and performance, dialogue and dancemaking, and the role of artists as changemakers in and beyond the studio.

Work with Dance Exchange artists in daily movement classes and workshops to build creative tools and practices for researching and generating artwork and action. Join Executive Artistic Director Cassie Meador and Dance Exchange collaborators to explore dancemaking and performance through research and engagement connected to Cassie’s new project, Future Fields, funded by the National Endowment for the Arts.

This will be a supportive environment for focused training and development for movers and thinkers of all ages and physical capacities—for those coming to dance through another field, returning to dance after many years, or currently in a daily dance practice.

To register, please click HERE. 


About Dance Exchange’s Institutes

Dance Exchange’s Institutes are a part of our Organizing with Artists for Change initiative and focus on responding to important issues and opportunities of our time. Together we build capacities and connections for artists to ignite inquiry and inspire change in our communities by sharing practices, collaborating on ideas, and growing the network of socially-engaged arts practitioners. 

Opportunity: Open call for artists living in rural and remote locations

Wanting to make connections beyond your own borders? The Arts Territory Exchange is a selective membership programme for artists living rurally + interested in art + ecology.

Creating a vast global network of connected topographies and reaching to the world’s most isolated places, the Arts Territory Exchange (aTE) facilitates collaboration between artists in remote and wilderness locations such as, islands, deserts, refugee camps, small communities or for those that feel themselves to be ‘remote’ in other ways, cut off from the networks that usually sustain a practice.

Member artists are invited to exchange materials exploring ideas of territory, locality and place; documents from their postal/digital exchanges become part of an interactive living archive and evolving resource. aTE also hosts events, bringing together exchange participants and helping them to realise their collaborations in the form of exhibitions, lectures, publications, ‘face-to-face’ and virtual residencies.

The programme is particularly interested in working with artists who are or have become disconnected from the resources (such as academic institutions, audiences, debate and critique) that often stimulate practice, and in addressing the remoteness—be it due to geography, rural isolation, disability, refugee status, economic disadvantage, parenthood, displacement or disenfranchisement of any kind—that may be a barrier to the conversation and dialogue that nourishes artistic practice.

aTE promotes artists’ work and offers a number of alternative residency opportunities including their ‘Residency by Correspondence’ where artists are paired up with counterparts across the world to make and create work.

Membership applications are open until 10th March 2020 and they are reviewing applications on a rolling basis. Apply here.

Find more information on the aTE website and instagram: @artsterritoryexchange

Membership benefits include:

  • Becoming part of a world-wide network.
  • Having your work included in a permanent collection, the aTE Archive.
  • Automatic inclusion in our ‘Residency by Correspondence’ Programme (with entitlement to re-pairing as and when necessary).
  • The opportunity to have your work selected by interesting independent curators as part of a rolling exhibitions schedule.
  • Opportunity to be included in aTE publications.
  • Opportunity to apply for ‘face to face’ subsidised residency programmes
  • Opportunity to apply for travel and work development funds as and when they are available.
  • An artist profile on our website with links to your website/social media.
  • Promotion of your work in the form of blog articles and social media posts (in consultation with you).

Contact Gudrun@artsterritoryexchange.com with any questions.

The post Opportunity: Open call for artists living in rural and remote locations appeared first on Creative Carbon Scotland.

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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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Call for Applications: The Public Voices Fellowship on the Climate Crisis

Application deadline: Feb. 16, 5pm EST

The inaugural Public Voices Fellowship on the Climate Crisis is now accepting applications.  This year-long fellowship aims to accelerate the ideas and impact of 20 new and necessary thought leaders, the majority of whom will be women and people of color.  They will be provided with extraordinary support, leadership skills and knowledge to ensure their ideas shape the greatest and most urgent conversation of our age.

The dire impacts of global warming are being felt across the globe.  The climate crisis affects every aspect of society.  But the consequences are unevenly distributed.  Those with the greatest power to mitigate its effects and adapt have the least incentive to do so.  This is true across geography, wealth, age, race and gender.

We need better and faster ideas from a more diverse set of people across all these divides including those who are most impacted by the uneven effects of global warming, and thus most likely to see new solutions and envision a more just future.

The curriculum explores leadership, power, and action in an unfair world. Fellows will learn how credibility works, how ideas spread, when and why minds change, and how ideas play out over time and space. The goal of this project is to bring new, diverse voices into the national climate conversation.

The program includes four in-person, day-long workshops and one-on-one coaching by leading journalists and editors.  All participants will publish at least two written pieces of thought leadership (and hopefully many more) during their fellowship. Attendance at all four workshops is required – applicants must save the dates in order to apply.

We are looking for new voices from civil society, academia, and the private sector, including advocates, entrepreneurs, community and business leaders, scientists, educators, and writers, among others. We are committed to building a cohort that is inclusive across all identities and backgrounds. We will take into account a variety of factors, including but not limited to race/ethnicity, geography, age, gender and area of expertise.

The Public Voices Fellowship on the Climate Crisis is a collaboration among The OpEd Project, Ann MacDougall and the Yale Program on Climate Change Communication and is part of the OpEd Project’s national initiative to change who writes history.

  • The YPCCC conducts scientific studies on public climate change knowledge, attitudes, policy support, and behavior, and the psychological, cultural and political factors that drive them. We apply this research by developing communication strategies to more effectively engage key publics in climate change science and solutions. We work with governments, the media, educators, companies, and advocacy organizations around the world to implement these insights in their own communication campaigns. Finally, we directly engage a national audience via Yale Climate Connections – a climate news service including a daily, 90-second radio program on climate science and solutions, broadcast on more than 500 stations and frequencies nationwide and an affiliate network of 136 Spanish-speaking stations.
  • The OpEd Project is a think tank and leadership organization that expands history by amplifying the ideas and public impact of new and necessary voices, including women of all backgrounds.
  • Ann MacDougall is an impact investor, independent public board member and experienced senior executive. She serves as a senior advisor to the Public Voices Fellowship on the Climate Crisis.

SELECTION

We seek leaders working at the intersection of climate change, communication, and social justice, with a demonstrated desire and ability to contribute to public dialogue on climate change. Areas of focus could include activism and movement building, financial risks and opportunities of climate impacts and solutions, local, national or global policy, climate science, sector approaches (e.g., faith, business, health), or many others.

Fellows will be chosen through a competitive selection process to achieve a diverse cohort. We will consider a variety of factors, including but not limited to gender, race/ethnicity, age, geography, area of expertise, work history, and experience as an agent of change.

DETAILS

  • Up to 20 fellows
  • Year-long program
  • Four interactive day-long workshops in or near NYC (dates are: April 23-24, 2020; July 17; October 2; December 9, 2020). Applicants MUST commit to and save those dates.
  • Dedicated editors (top journalists) to provide regular, one-on-one support/editing/coaching
  • Access to ongoing mentoring for the fellowship year
  • A limited number of travel and lodging stipends for those who need them. The workshops are provided free of charge.

APPLY NOW

WHAT IS SUCCESS?

We are not interested in providing a service as much as creating an outcome. Our goal is 100% success: we envision that every participant will produce tangible pieces of thought leadership in influential places (which may include op-eds, speeches, radio/TV appearances, proposals for new initiatives or businesses, and more), and that these will greatly accelerate their impact as thought leaders helping to shape history. Longer term, we aim to build a thriving and connected community of Public Voices on the Climate Crisis Fellows across cohorts.

APPLY NOW

FREQUENTLY ASKED QUESTIONS

These FAQs relate to all Public Voices Fellowships managed by The OpEd Project.