Open Calls

Open Call: The Morning Boat Research and Production Residency

This post comes from Creative Carbon Scotland

This opportunity comes from The Morning Boat. For more information, please visit their website.

The post Open Call: The Morning Boat Research and Production Residency appeared first on Creative Carbon Scotland.


The morning boat is an international artist residency and laboratory for artistic research and action. Activities will focus on local industries in Jersey that are often referred to as the foundations of the island economy – Agriculture, finance and tourism – and their impact on people’s lives. The morning boat responds to an urgent need for a reflective and meaningful public discourse on complex critical issues and real life practices that are central to the island’s economy, social fabric and way of life. Artists will be invited to Jersey whose work is thought provoking, unforgettable, accessible to its audience and sensitive to the context in which it is presented. Projects will be developed specifically for the island of Jersey, responding to its unique character and narrative. Work will take place in public spaces and every-day working environments, in collaboration with the local community.

Thematic focus for 2017 and 2018: Agriculture and fisheries

Working together with farmers, fishermen, seasonal workers, politicians, chefs, retailers and consumers, artists are asked to investigate and respond to the locally grown, caught, gathered and reared food chain. They will explore the past, present and future implications of agricultural practices in Jersey. They will interact with and respond to existing infrastructures, farming practices, social structures, economic conditions and the products themselves.

Working with and for the local community

The morning boat aims to be an arts residency that takes place in the heart of the local community, from the research that is undertaken, through to the public presentation of the work. At the start of each residency artists will be paired with local experts and employees, to conduct first-hand research and develop an understanding towards industry practices, working environments, concerns and challenges. This experience provides the starting point and inspiration for continued research and the creation of new work that interacts with existing infrastructures and reimagines daily routines.


Artists will receive an artist fee of between 1800 and 2000 pounds for a period of approximately four weeks in Jersey. Travel expenses will be reimbursed and accommodation will be provided. A small production budget will be available for materials and a network of partners are standing by to provide additional material and logistical support. The curatorial team will assist you throughout the residency, but a level of autonomy is desirable.

Application process

Please read the FULL OPEN CALL document for application details. Submission deadline: February 10th 2017.

Selection criteria

The morning boat is a multi-disciplinary programme. Among others, we welcome proposals from architects, film makers, theater practitioners, puppeteers, choreographers, robotic engineers, writers, sculptors, sound artists, musicians, textile designers, food artists, interdisciplinary collectives and undefinable practices. A specialism in public art practices (either as ‘interventions’ or as live programmed events), might be helpful, but is not essential.


More information is available on The Morning Boat website.

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 Papers: Cogent Arts & Humanities

Cogent Arts & Humanities welcomes submissions of research articles, critical and curatorial essays to a special collection on “Seeds of fierce engagement: Creative work at the intersection of contemporary art with ecology, climate change, and environmental activism”. Artwork, films, audio pieces, datasets and other multimedia files can be submitted as supplementary material.

Humans are having an unprecedented and devastating impact on the earth. Our way of living is causing disastrous climate change, unsustainable levels of toxicity of the water, air, and soil, and shocking extinction rates of organisms that form the fabric of life. We have made decisions that led us to this current situation and we can make decisions to change course. What we need is fresh vision and collective will. Artists, activists, political and cultural theorists, philosophers, curators, architects, designers and others are doing creative, unconventional, and ambitious work to expand our vision in ways that cultivate positive change.

Although we welcome a variety of approaches, authors and artists are invited to consider the following questions in preparing submissions:

  • What are the possibilities for and limitations of artistic and curatorial models that respond to climate change and ecological crisis, including the massive depopulation of non-human life on the planet known as the sixth extinction?
  • In this time of climate crisis, what role is contemporary art playing in advancing an understanding and valuation of biodiversity, in shaping the relationships between people and the non-human world or in advancing rights for non-human entities?
  • The Global North is largely responsible for the environmental problems at the heart of the climate change crisis. How are artists, activists and theorists working between the Global North and South to generate harmony and collaboration with the goal of environmental justice?
  • How are creative practitioners and cultural theorists constructively troubling definitions of “nature” or “sustainability”?
  • How are creative practitioners engaging ideas of energy futurism in relation to alternative structures of living and locality in production and consumption?
  • How are artists, media producers and other visual culture practitioners catalyzing positive changes toward solving ecological concerns (a “Great Transition”) and against the paralyzing narratives of disaster capitalism?
  • How does environmental activism function within the spheres of art / creative practice?
  • How is the art historical field framing work by artists and artist activists engaged with issues surrounding climate change and political ecology?
  • How does work in aesthetic fields join with activism and Indigenous philosophies to suggest a future of increased environmental justice?
  • How might art recover environmental understandings held by indigenous populations that are lost or nearly lost?
  • What role does art have in interrogating our assumptions about agricultural and industrial revolutions and about pre-modern peoples?
  • What historic creative or scholarly works inform contemporary art as it grapples with climate and ecological crises?

To submit your work, and to view our author guidelines, please visit the journal’s website:

The deadline for submissions for this special collection is 15th August 2017.

During the submission process you will be able to confirm that your work is intended for the special collection on art and environment.

We look forward to working with you to bring exciting new scholarship to the widest possible audience.

Zoé StreckerSenior Editor for Visual and Performing Arts, Transylvania University.

Call for Papers: Making and Unmaking the Environment

call for papers

Design and designers hold an ambiguous place in environmental discourse. They are alternatively being blamed for causing environmental problems, and hailed as possessing some of the competences that could help solving those problems. Despite this long-standing centrality of design to environmental discourse, and vice versa, these interrelations remain underexplored in design historical scholarship.

Confirmed keynote speakers:

Simon Sadler – University of California, Davis

Jennifer Gabrys – Goldsmiths, University of London

Peder Anker – New York University & University of Oslo

Half a century ago, Leo Marx coined the phrase ‘the machine in the garden’ to describe a trope he identified as a prominent feature of 19th and early 20th century American literature, in which the pastoral ideal is seen as disturbed by the invasion of modern technology. Marx subsequently shifted perspective from this fascination with ‘the technological sublime’ to a deep concern for the environmental ramifications of technological progress. The question of how we as society deal with the allegorical machine in the proverbial garden is more relevant than ever.

Design is both making and unmaking the environment. Conversely, it might be argued that the environment is both making and unmaking design. This conference seeks to explore how these processes unfold, across timescapes and landscapes, thus opening a new agenda for the field of design history. Design thinkers from John Ruskin and William Morris to Richard Buckminster Fuller and Victor Papanek and beyond have grappled with the intricate and paradoxical relations between the natural environment and the designed environment. From Ghandi’s India to Castro’s Cuba, design policy has been enmeshed in concerns for its environmental ramifications. From prehistoric stone implements to contemporary nanotechnology, design has been key to shaping our environment.

In the anthropocene, we can no longer talk about design (and) culture without also talking about design (and) nature. The conference theme is intended to stimulate new directions in design historical discourses that take seriously design’s complex interrelations with nature and the environment. Not only does design feature prominently in the making and unmaking of the environment; studying the history of these processes will also help reveal how the idea of the environment itself has been articulated over time. Engaging with issues of environmental controversies and sustainable development can move design history beyond its conventional societal significance, and may thus enable more resilient futures.

Relevant topics include, but are not limited to:

–  Design and consumption
–  Repairing, fixing, mending
–  Design in nature
–  Design of nature
–  Histories of sustainable design
–  Histories of unsustainable design
–  Environmentalist movements and design
–  Design movements and the environment
–  Durability and ephemerality
–  Impacts of materials and manufacturing
–  Imaging nature(s)
–  Greenwashing & greenwishing
–  Designs on the Anthropocene
–  Politics and policies of sustainable design
–  Design and alternative energy

–  Designing doom and gloom
–  Designing technofixes
– Appropriate technology
– Eco-modernism vs. green conservatism
– Eco-fiction/Eco-topias
– Deep ecology as design philosophy
– Traditional design for resilient futures
– Visual culture of the environmental crisis
– Waste and afterlives
– Silent springs and atomic winters
– Social sustainability
– Ecology and systems design
– Navigating spaceship earth
– Earthships and biodomes
– Biomimicry and generative design

Special anniversary strand: Making and Unmaking Design History

2017 marks the 40th anniversary of the first Design History Society Annual Conference, held in Brighton in 1977, as well as the 30th anniversary of the Journal of Design History. In celebration of this landmark, we invite proposals for papers addressing the historiography of design and the history of the discipline, with the aim to curate a special anniversary strand on the making and unmaking of design history.

We are inviting proposals for individual papers of 20 minutes, or proposals for thematically coherent panels of three papers. Panel proposals must include abstracts for all three papers in addition to a short description of the panel theme.

Deadline for submission of abstracts: 20 January 2017

Please submit your proposals in the form of anonymous MS Word documents to:

Convenor: Kjetil Fallan (University of Oslo)
Co-convenors: Ingrid Halland, Ida Kamilla Lie, Gabriele Oropallo (University of Oslo), and Denise Hagströmer (The National Museum of Art, Architecture and Design)

The conference theme is informed by the RCN-funded research project Back to the Sustainable Future: Visions of Sustainability in the History of Design.

Open Call: CLIMARTE Festival Art+Climate =Change

The City of Port Phillip has partnered with CLIMARTE to engage with artists, designers, architects, curators and others in the creative industries to create an ephemeral work of art along Acland Street, St Kilda, Victoria, during CLIMARTE’s ART+CLIMATE=CHANGE festival in April-May 2017.

Proposals will address the issue of climate change – both challenges and opportunities – and look at creative ways to engage community and visitors.

For more information and to obtain the Expression of Interest form, please contact:

22-30 December 2016: Georgia Rouette, Public Art Officer

Phone: 9209 6335 Email:

31 December 2016 onwards: Sandra Khazam, Arts & Heritage Team Leader


Or visit

Expressions of Interest are due by 5pm on 3 February 2017.

This project is a partnership between City of Port Phillip and CLIMARTE as part of CLIMARTE’s ART+CLIMATE=CHANGE 2017 – a festival of exhibitions and events harnessing
the creative power of the Arts to inform, engage and inspire action on climate change.

Call for application for the Artists’ Development Programme 2017 (the Anthropocene)

This post comes from Creative Carbon Scotland


The European Investment Bank (EIB) Institute is pleased to announce the 2017 edition of its Artists’ Development Programme (ADP), looking for one visual artist (born after 1 January 1982) from EU Member States focusing on the theme of “The Imprint of Man – Representing the Anthropocene”.

The ADP offers emerging European visual artists a month-long residency in Luxembourg, enabling them to develop their practice and create a new (body of) work(s), boosted by the mentorship of acclaimed British artist Callum Innes.


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

Budget and duration

The EIB Institute will cover the artists’ travel costs to and from Luxembourg, including a stopover to visit Callum Innes in Edinburgh. The artists will receive a stipend (EUR 100 per day each) and will be provided with a living/working space. At the end of the residency, the participants will receive a success fee of EUR 1 500 each, provided they have produced an artwork. The duration of the residency in Luxembourg will be one month in June 2017.

Upon completion of the residency, the EIB may acquire the artwork(s) produced on-site from the artists.

Application procedure

– CV (in English)
– Scanned copy of the passport, identity card of the applicant or other document evidencing legitimate residence in one of the eligible countries (in English)
– A letter of motivation/intent specifying personal drive and expectations for the programme (maximum 600 words, in English)
– Portfolio of visual documentation of several works best characterizing the art of the applicant (in PDF, four A4 pages maximum)
– Names and contacts 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 candidates based on the artistic quality of their work, their project and motivation, the applicants’ potential to make the most of the opportunity offered by the residency and the relevance of the applicants’ practices to the cultural context of the EIB Institute.

The selected candidates will be informed of the jury’s decision via email by mid-March 2017.

Any application failing to comply with the set requirements will be automatically disqualified.

Applications should be sent electronically to Ms Delphine Munro (

Deadline for application: 31 January 2017 at midnight (GMT+1).

The post Call for application for the Artists’ Development Programme 2017 (the Anthropocene) 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: CCCB Cultural Innovation International Prize



Cultural Innovation International Prize

Climate change

Second edition 2016-2017

How can culture defy climate change? The second edition of the Cultural Innovation International Prize encourages projects that offer imaginative and effective solutions to one of the biggest global problems of the 21st century. The winning proposal will be featured in the activities included in an exhibition on the subject at the CCCB.

Climate change is one of the central themes of the CCCB’s 2016-2017 programme. In the course of the year we’ll be offering activities, talks and a major exhibition with the aim of addressing what we see as one of the biggest challenges facing humankind.

Year two of the International Prize for Cultural Innovation marks the start of this annual interdisciplinary agenda and opens the debate about the role that culture and cultural institutions can play in helping to address the problem.

Can we analyse global warming beyond catastrophist viewpoints or technological solutions? Can we contribute to the need for an ecological ethic and collective environmental responsibility? Can we act as catalysts of change?

Submit a project

Climate, culture, change
The 2nd Cultural Innovation Prize:

Is open to innovative cultural projects that raise awareness about climate change, empowering and involving society actively in the global commitment to environmental responsibility.

Is designed so that the winning proposal can be featured in the framework of the exhibition «After the End of the World»  in October 2017. If applicable, the project will be loaned space at Beta Station, a laboratory space adjoining the Centre’s galleries.

Includes prize money of 20,000 euros to develop the winning proposal.

Is open to projects in the framework of the third culture (proposals that explore links between art, science, humanities and technology), education (informative and educational formats that involve educators, children, young people and families) or citizen-led innovation (new tools, platforms and programmes for collective participation and the design of ideas for social transformation).

An international jury will evaluate the finalist projects:


Presentation of projects
From 11 October 2016 to 31 January 2017 (at 18:00 CET)

Announcement of finalists
25 April 2017

Presentation and award ceremony
June 2017

Rules 2016-2017 (PDF)

Frequently Asked Questions (PDF)


Call for Abstracts: Crafting Sustainability

Workshop in Trondheim, June 14. & 15. 2017

Through an examination of the nature of craft and craftsmanship we seek to understand how craft can contribute to sustainability in various ways.

Important dates

Abstract deadline: January 15 th, 2017

Acceptance notification: January 31st, 2017

Draft deadline: June 7th 2017

Workshop dates: June 14th & 15th, 2017

Call for abstracts

You are hereby invited to submit an abstract (2-300 words) for a workshop on craft in Trondheim, Norway. We welcome proposals on emerging topics related to craft and workmanship. The notion of craft includes traditional crafts such as carpentry, pottery and weaving, but we are also interested in aspects of craft, or workmanship in professions not normally associated with craft, such as practitioners of governance and planning, teaching and research.

The purpose of the workshop is to provide a forum and encourage in-depth discussions on the notion and practice of craft in relation to sustainability; environmental, social and cultural sustainability. We recognise that craft as a research topic has been severely undervalued, and we wish with this workshop to explore how issues of craft and workmanship play a role in relation to for example climate change mitigation, sustainable innovation and transitions, human dignity and the health of communities. How can a better understanding of craft provide a path to a better understanding of sustainability?

In this workshop we welcome empirical research on craft and theorisations of craft, for example approaches that seek to conceive and understand the nature of skills and craftsmanship combining philosophical, cultural, anthropological or practical studies of craft with Science, Technology and Society studies perspectives. Research questions of particular interest are: How are traditional crafts practiced in work settings characterised by automatization and technological production processes? Is the nature of craft changing, and what remains through the change? Do challenges of environmental sustainability shape craft and workmanship? If so, in what ways? And can an understanding of these elements of craft contribute to sustainability?

This line of investigation also encourages studies of involvement of ordinary citizens, community groups and other professions than those traditionally associated with crafts, as well as crafting perspectives on for example academic research and bureaucratic activities such as city planning. The core aim of the workshop is to interrogate multiple understandings of craft, and use this discussion to help illuminate and craft more engaged and effective ways towards sustainability.

The workshop will take place on the 14th and 15th of June 2017. Trondheim is known as the “wooden-house city” with far-reaching craft traditions. The workshop will feature invited keynote speakers on craft research, presentations from participants, discussions and work-groups on furthering craft-research.

Papers from the workshop that are found suitable will be published in a special issue on craft in the Nordic Journal of Science and Technology, edited by Dr. Jøran Solli and Dr. Håkon Fyhn. The workshop is the first step towards this publication. We will therefore ask contributors for an a draft-paper (2-3000 words), to be submitted before the workshop to serve as a first draft for the publication.

For any questions, please contact:

Jøran Solli:

Håkon Fyhn:

Roger Søraa:

Project webpage:

PDF: craftingsustainabilityworkshop

Opportunity: Climate Project Grant – Invoking the Pause

Initial Grant: Invoking the Pause

ITP provides for a “creative pause” – a reflective retreat for a team to take time away in a place of beauty of their choice.

•”Pause” Purpose: to engage in collaborative conversations and develop ideas and/or strategies about how to craft a meaningful response to climate challenge issues.
•Grant Size: Up to $10,000 is available for selected projects, to cover expenses directly related to the project as outlined in the grant proposal budget.

Preference is given to a team of individuals who bring different yet complementary skills to the effort. To be considered for a grant, applicants must each have:

Three or more years of experience working in the particular field of interest;
Some familiarity and/or experience in working with the other team members;
The ability to complete your project within five months of receiving the grant.
Application Details For 2017 Grants:

Please submit no more than 6 proposal pages (plus additional *3 maximum attachments*) with the following information:

-Name and contact information for each collaborator with short resume/bio for each – please identify key contact person, email and physical mailing address
-Synopsis of the proposed project idea, its desired impact and how your particular collaboration may leverage action on some climate challenge issue
-Reveal how you heard about Invoking the Pause and explain what draws you to this opportunity
-Brief description of previous collaboration, if applicable
-Logistics: location, time frame, structure and creative elements
-Proposed budget of expenses directly related to your “pause”
-Up to *3 attachments: PDF’s, media files, links etc., that further illustrate your ideas
For collaborations not part of a recognized nonprofit, federal grant-making law requires that you obtain a fiscal sponsor. Please provide a letter of support from this organization with your application.

Please submit your application BY JANUARY 31, 2017 to Arlene Hilliard:

Applicants will be notified by March 30, 2017

Second Phase Grant Opportunities will be available later in 2017 after the annual Grant Partner Gathering. Please see the Existing Grant Partner Application Process page of this website for more information.


Job Opportunity: Brown University, Theatre Arts and Performance Studies

Visiting Design Lecturer in Theatre Arts and Performance Studies
Deadline January 15, 2017
Date Posted November 29, 2016
Type Non tenure track
Salary Competitive
Employment Type Full-time

Position Description:

The Department of Theatre Arts and Performance Studies at Brown University invites applications for a three-year full time residency as a Visiting Lecturer in Scene Design beginning July 2017. We are looking for a committed, fundamentally collaborative colleague to spearhead the expanding role of design in a Liberal Arts context. This forward-thinking individual will join a vibrant and dynamic community of artists, scholars, students and staff in a department that is committed to excellence in practice, design as research, and encourages diversity of thought, aesthetic expression, and pedagogy as a matter of course.

Responsibilities include Scenic Design, scenic art and properties design of the department’s main stage season; supervision/mentoring of undergraduate student designers and artisans, MFA directors; and a hands-on approach to realizing the demands of an active production season.

Applicants will have an MFA in Scenic Design, professional scenic design experience, and a minimum of 3-5 years of university teaching experience. Candidates with a working knowledge of computer aided design, digital media, projection design and emerging design technologies such as Civic Practice, and/or Green Theater are of particular interest.

Brown University is committed to fostering a diverse and inclusive academic global community; as an EEO/AA employer, Brown considers applicants for employment without regard to, and does not discriminate on the basis of, gender, race, protected veteran status, disability, or any other legally protected status.

Application Materials and Deadlines:

Please send a cover letter, CV, design portfolio and three letters of recommendation to Kym Moore, Associate Professor/ Search Committee Chair via Interfolio.

For fullest consideration, candidates will submit applications by January 15, 2017, though applications will be accepted until the position is filled or the search is closed. The term of employment will begin July 1, 2017. Candidates should expect to begin their full-time residency at the university by that date.

Apply via Interfolio here:

– See more at:

Open Call: VIFA International Photography Exhibition 2017

International Photography Exhibition

VIFA is back with one of the most happening events of the festival – Worldwide Climate Change Photography Exhibition. Climate is a major concern globally. As to support the central theme of VIFA, this section is open to anybody to contribute and raise his/her voice for climatic concerns.

This year the theme of the exhibition is “CLIMATE CHANGE & TRAVELING”.

If you have seeking eyes and fingertip palpitations; you are one step in to participate. Click an image that speaks for climate concern through traveling. Think, and write something about your concerns to the climate change. Now you’re ready. Finish the formalities and be a part of the global community.

Read the instructions to send your entries.

Terms & Conditions

-Like on & is mandatory
-Upload a Jpeg image on both &
-Upload your photos with following hash tags – #VIFA, ‪#vifa2017, ‪#‎vihaanindia‬, #vifaindia #vifaphotography #traveling ‪#‎climatechange #theatrewithoutborder‬
-Entries without ‪#‎tags‬ will not be accepted
-Add a note with your click, concerning climate change
-Number of likes on your photograph & a panel of expert will choose winners
-You can share as many number of photographs, though the conditions will remain same for uploading
-If your image is selected for exhibition, we will contact you for a higher resolution image
-Best 30 photographs will be exhibited at VIFA 2017
-Best 3 photos will be published in souvenir of VIFA 2017
-Selections will be announced online.

Good Luck!