Curating.info

The MacLarenArtCentre seeks a curator with a strong exhibition and publication history, and experience in both collections management and public programmes. Reporting to the Executive Director, the Curator is responsible for the research, planning, administration, interpretation and documentation of the exhibition programme and the permanent collection in accordance with the vision of the Centre and the Executive Director. The successful candidate possesses an in-depth knowledge of the theoretical, historical and intellectual contexts of contemporary art practices, and an ability to communicate this knowledge to both specialized and general audiences. The successful candidate also possesses an exceptional knowledge of curatorial and museum practices, and the ability to think strategically about the relationship between the Centre’s exhibitions and collection and the community it serves.

Qualifications

- A Masters Degree in Art History or Curatorial Studies
- A Certificate in Collections Management or equivalent
- A minimum of four years full-time curatorial experience in a public art gallery
- Demonstrated experience with standard professional museum practice, particularly as it relates to curatorial work/projects and collections management
- Excellent written and oral communication skills
- Excellent interpersonal skills
- Demonstrated ability to build effective relationships with staff, exhibition contributors, volunteers, audiences and stakeholders
- Excellent organizational and time management skills, with the ability to manage multiple projects simultaneously
- Success in grant writing, budgeting and financial management
- Success in building curatorial and community collaborations


The deadline for applications is 5 pm on Monday, January 25, 2010
This is a permanent position, full-time position (40 hours per week within a flexible schedule) offering a competitive salary based on experience and qualifications, and a comprehensive benefit package after the initial three month probation.

Please send a personalized cover letter, curriculum vitae, curatorial statement and samples of writing in confidence to:
The Hiring Committee, c/o Carolyn Bell Farrell, Executive Director, MacLarenArtCentre, 37 Mulcaster Street, Barrie, ON L4M 3M2 Canada or by email to: hiringcommittee -at- maclarenart.com

The MacLarenArtCentre is Simcoe County’s regional public art gallery. Located in downtown Barrie, the MacLaren is housed in a 24,000 square-foot award-winning building that combines a renovated 1917 Carnegie library and a contemporary addition by Siamak Hariri. The complex includes multiple galleries, visible storage, an education centre, a sculpture courtyard, café, gift shop and framing department. The MacLaren presents a year-round programme of local, regional, national and international exhibitions of contemporary art, complemented by occasional exhibitions of historical and modern art. Exhibitions are presented both at the gallery and across the city as part of the MacLaren’s ArtCity™ programme, which places permanent and temporary artworks throughout Barrie’s public spaces. The MacLaren houses a permanent collection of 26,000 works of art, including a unique archive of 23,116 vintage Soviet press photographs. The balance of the collection represents visual culture in Canada with an emphasis on contemporary art. Education provides the unifying link that activates our collection and exhibitions, and fosters an appreciation of the visual arts.

The MacLarenArtCentre is an equal opportunity employer and welcomes applications from all qualified candidates, although only those selected for interviews will be contacted.

H + F CURATORIAL GRANT
3rd edition 2010/2011
CALL FOR AN ASSISTANT CURATOR / EXHIBITION COORDINATOR

FRAC Nord – Pas de Calais (F), de Appel arts centre (NL), H + F Curatorial Grant

The 'H+F Curatorial Grant' is an ambitious and original initiative which allows the FRAC Nord–Pas de Calais (Dunkirk/France) in close partnership with the private collector Han Nefkens (H+F Collection) and the de Appel arts centre (Amsterdam/NL), to give young international curators the opportunity to participate in the development of exhibition projects based on the collection of FRAC Nord-Pas-de- Calais.

This grant, which was launched in 2007, offers emerging art curators a unique infrastructure and environment with free access to a research and documentation centre as well as to one of the best French collections of contemporary art. The FRAC acts as the first intermediary for these future professionals of contemporary art by helping them to develop and implement their projects.

A panel composed of Han Nefkens (H+F Collection), Ann Demeester (Director of de Appel) and Hilde Teerlinck (Director of the FRAC Nord-Pas de Calais) will select the new candidate. The selected person will become part of the FRAC's team as an assistant curator, coordinating local, national and international exhibition-projects. She / he will receive in exchange a grant for 12 months (May 2010>May 2011) that will help finance her/his living and travel expenses.

An excellent knowledge of English is required, knowledge of French would be helpful.

The candidate will have to install her/himself in Dunkirk for the mentioned period.

This project has been made possible thanks to the generous support of Han Nefkens (journalist, writer and art collector), which enables the FRAC Nord-Pas de Calais to reinforce the development of a strong and active policy of patronage around its activities. From 2008 onwards the application process is open for former students of de Appel Curatorial Programme and all aspiring young curators who wish to enhance their expertise and further develop their skills and agilities in project management.

Please send your application containing a recent CV (including a photograph) and a motivation letter before February 28th 2010 to:

FRAC Nord-Pas de Calais
930 avenue de Rosendaël
59240 Dunkerque (France)
Tel. 03 28 65 84 20
www.fracnpdc.fr
h-teerlinck -at- fracnpdc.fr

Lumi Tan (US), the second curator to be awarded the H+F Curatorial Grant, will present her exhibition-project 'Pilot Light' for the FRAC in collaboration with the ArtAids Foundation on 04.02.2010 in multiple locations in Lille (F).

Welcome to the last Pick 'N Mix of 2009!

- Here is yet another art world power list, listing several curators, many of whom are "household names" of a sort (Birnbaum, Bonami, Obrist, etc). We're a society obsessed with lists and awards it seems!

- Andy Warhol was all over the news this past month, and one of the major news items referred back to a situation in 1990 involving well-known and respected curator Pontus Hulten. According to reports, some of Warhol's famous Brillo boxes were replicated after the artist's death and passed off as originals, which has resulted in a sticky situation for everyone involved. The details, including some information on Hulten's role in the story, is available at Artnews.com. More potential Warhol fakes were discovered, in London-based art dealer Anthony d'Offay's collection, prompting Tate Modern Director Sir Nicholas Serota to hold off on buying the self-portrait on the taxpayer's dime. Full coverage at the Guardian. Of course, it is not hard to imagine that our late Uncle Andy would have had a huge laugh about the complications surrounding a desire for verified authenticity.

- While we're thinking about money, value, and authenticity, here's a good read: The British Council has been holding lectures by leading thinkers such as Dambisa Moyo, Amartya Sen, Muhammad Yunus, and others. In early November Benjamin Barber gave a lecture on art, money and democratic change and it's available to watch or read at the British Council website.

- Here's a handy research tip: If you use Twitter, send a tweet with your research interests to Mute Magazine, and they'll dig up something relevant for you from their archives! I asked them for articles on curating and public art, and was promptly sent links to two great articles: Curating Self-Consciously, and Airing Dirty Laundry in Public Art. Give it a try!

- Independent Curators International (iCI) has a series of lectures planned that looks terrific. Sunday, December 13th Ana Paula Cohen is speaking at the New Museum in New York, USA. Further details here. If you are in the New York area, sign up to their email list to get information on future talks.

- Last but not least, please consider helping a researcher out and filling in this questionnaire for curators developed by Lisa Ladner. I'm sure the results will make for fascinating reading.

Happy holidays!

Swiss researcher and consultant Lisa Ladner approached me to assist in the distribution of this fascinating survey for curators. She has been working as a cultural producer and independent curator in Puerto Rico, and with her international experience she found interesting discrepancies in how institutions around the globe work to support curators. She would like you, as a curator, to answer the questionnaire below and return the answers to her as soon as possible to info -at- lisaladner.com, so that she can learn from your experience and share the results not only with her Puerto Rican colleagues but with us, too.

The questionnaire is below, please copy and paste it into a new email and send it directly to Lisa: info -at- lisaladner.com.
Thanks for your help.

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QUESTIONNAIRE / Please don't write what you think is good practice, but honestly describe the current practice!

Please mark one:
[ ] I want my answers to be anonymized
[ ] You may quote me using my name
[ ] Please treat my answers this way: ...

Name: ...
Website (or short bio): ...

Institution: ...
The institution's website (if it doesn't have a website, please describe the institution): ...

Position/relation with the institution: ...

---

1. Number of in-house curators (paid staff / employment percentage): ...

2. Institution works with guest curators:
[ ] yes
[ ] no
[ ] only

3. Guest curators get paid:
[ ] yes, of course, they get an average of USD ..... per exhibition
[ ] no, it's already an honour they can work for the institution

4. How does the institution cover the guest curator's expenses related to an exhibition such as transportation, accommodations, meals?

5. Please describe the collaboration between the in-house curators and the guest curator. Does the in-house curator interfere with the project or just help in its realization?

6. How much help does the institution grant the guest curator (museum staff, technical assistants,...)? Can the guest curator use the same resources as the in-house curator?

7. Let's say a freelance/independent curator presents an idea with a cost estimate and the institution likes it very much. Does the institution now communicate the available budget for the exhibition and the curator adapts the project or must the curator first present an exact budget and then wait for the institution to see, if they can raise the money? Will the curator get paid for budgeting? Does the institution help the guest curator in the budgeting?

8. How many months prior to an exhibition does the institution communicate if it can be done or not (due to economic reasons)?

9. Does the guest curator get a contract and if so: at what moment in the project? Could you send me a sample or actual contract?

10. Does the guest curator only get paid if the exhibition takes place? What if the show is being cancelled because the institution couldn't raise the money?

11. Can the guest curator be asked to help raise money?

12. Does the institution cover all transportation and insurance costs for the artworks (round trip) including wrapping/crating? Or does it ask the artist to cover some of the costs?

13. Who looks for transportation/insurance/customs quotes: the institution or the artist?

14. Are artists being paid for having their work in an institutional show or are they asked to pay for it (for example with the argument that the work's value goes up by being exhibited)?

15. If an artist has to be present for the mounting or opening: does the institution pay for transportation/accommodations/meals? Does it also pay a compensation for the invested time?

16. Regarding the above questions: does it matter if the work comes from the artist, an art dealer/gallery or a collection/collector or from another institution or are they all being treated equally?

17. Do artists receive money to complete a work or is this only the case, if the work was commissioned?

18. Are artists being asked to come up for or provide exhibition equipment such as DVD players, headphones, loudspeakers, cables, beamers, monitors, computers or whatever is needed to exhibit their piece?

19. Does the institution set up a contract with the artist or makes him fill out just a standard form? At what moment? Please send samples or actual documents.

20. Do you ask the artists to provide professional high resolution photos of their work to be used for free in the catalogue?

21. Does your institution have a curatorial guideline/handbook such as http://www.newbedfordartmuseum.org/handbook/index.html? Please provide.

22. Are proposals by in-house and freelance/independent curators being treated equally (for example: propose to director, then pass the exhibition committee, then being assigned an in-house curator/committee member to accompany the project)?

23. How many exhibitions does the institution do yearly (average)?

24. If you're a curator: how many exhibitions do you do yearly (average) / how many have you done in your career (approx.)?

---

Comments: ...

Please mark:
[x] yes, I'd like to get the results from this inquiry
[ ] no, I'm not interested in the results

Deadline for applications to Hordaland Art Centre's residency for 2010 is December 15th 2009. Applications are accepted via e-mail.

Hordaland Art Centre has been host to guests since 1987. Today the residency is focused on research as well as production and is an integral part of our programme. The residency is open to international artists, curators, writers and other art professionals. Our guests are expected to have a public presentation during their stay with Hordaland Art Centre.

Our guests stay in a quiet residential area seven minutes walk from Hordaland Art Centre in the centre of town. The flat has one bedroom, kitchen, living room and bathroom, as well as a south-west-facing balcony. The studio is on the top floor of C. Sundts gate 55, a nine floor studio building only three minutes walk from Hordaland Art Centre. The studio is furnished and has open access wi-fi. Guests are expected to bring their own computer and other tools necessary for their work during the residency.

Hordaland Art Centre covers travel, rent, studio rent, electricity and a small stipend to cover the high living costs in Norway. The applicant can apply for periods of 2 weeks, 1 month or 2 months.

Our residency is financially supported by Hordaland County and Nordic Culture Point. Successful candidates are also encouraged to apply for additional funding.

Please fill in the application form and attach cv and images/texts.

Please make sure you comply with the instructions. Incomplete applications will not be taken into consideration. Please e-mail completed application form, cv and images/texts in one single e-mail to hks[at]kunstsenter[dot]no with your name as subject line.

We accept applications in English only to accommodate our international jury members.

Applications are assessed and chosen by a jury on the basis of merit, and the ability Hordaland Art Centre has to support the proposed research or project.

To be eligible for the Nordic residency, supported by Nordic Culture Point, you are a professional working artist, curator, contemporary art writer, critic or researcher from one of the Nordic (Denmark, Sweden, Finland, Iceland, Greenland or the Faroe Islands) or Baltic (Estonia, Latvia or Lithuania) countries, or based professionally in one of these countries.

To be eligible for the International residency, supported by Hordaland County, you are a professional working artist, curator, contemporary art writer, critic or researcher from any country.

We are part of the network West Norway AIR

The Baltic Art Centre (Visby, Sweden) residency program for artists, curators and contemporary art writers from the Baltic and Nordic countries – is now open for application.

Deadline: 15 January 2010.

To be eligible for the residency you have to be a professional working artist, curator or contemporary art writer from one of the Baltic or Nordic countries (Lithuania, Latvia, Estonia, Denmark, Norway, Finland, Iceland, Greenland or the Faroe Islands), or be based professionally in one of these countries. Please note that we do not accept applications from Sweden this year.

Deadline: applications must be received on or before 15 January 2010. Successful applicants will be notified by 15 February.

There is no application form. You apply with a CV, documentation of previous works and a project description for the activities you wish to undertake at BAC. Please apply in English as the applications will be reviewed by an international jury. The applications are assessed on the basis of merit and the ability of BAC to support the proposed project.

You can apply to come to BAC for a minimum of 4 weeks and a maximum of 8 weeks during the period April – June, or September – December 2010. Please specify your preferred time and length of stay in the application.

Applications with a clearly formulated project description and indication of how you are planning to use your time at BAC will be prioritized. Please describe the project you intend to work on at BAC and how your working process would benefit from the residency. BAC welcomes projects at all stages of development; from the early stages of research through to production and post-production. All residents are expected to hold a public talk about their practice during their stay at BAC.

As an AIR resident at BAC you will receive a monthly stipend of 14 000 SEK. Travel expenses to and from Visby will be covered. You will be allocated an apartment and a desk space adjacent to the BAC offices. Should your project require a separate studio space or other facilities, this can be arranged if agreed in advance. Please state your needs clearly in the application. BAC offers modest financial support for specific production costs up to 20 000 SEK per project. Please include a budget should you require financial support for your project.

Applications should be sent by email to application -at- balticartcenter.com. Please write “AIR application 2010” in the subject heading of your email. We do not accept applications sent by post.

For further information about the residency please contact Anders Schweitz on 
anders -at- balticartcenter.com 
or call +46 (0)498 200337.

The AIR residency is supported by the Nordic Council of Ministers.

PIR – the Production-in-Residence program for international artists at BAC – is by invitation only.

NOTE D’INTENTION — HYPERTEXTE, LE RÉSEAU PINKPONG, LA VILLE ET L’ÉCOLE DES BEAUX-ARTS DE TOULOUSE S’ASSOCIENT POUR LA CRÉATION D’UN APPEL EN DIRECTION D’UN(E) COMMISSAIRE D’EXPOSITION INDÉPENDANT(E), OU D’UN GROUPE DE COMMISSAIRES
Date limite de réception des projets en pdf : Vendredi 11 décembre 2009.

LE CONTEXTE — Sur l’initiative du projet Hypertexte et en partenariat étroit avec l’école des beaux-arts de Toulouse, un commissaire est invité à développer un projet d’exposition entre janvier et août 2010 à Toulouse.

Il aura en charge la conception, la coordination, les relations avec les artistes, la production, le montage et le démontage de l’exposition. Le commissaire invité travaillera en lien direct avec l’équipe du projet Hypertexte qui assure l’organisation générale de cette invitation. Il associera à sa recherche un groupe d’étudiants de l’école des beaux-arts qui l’accompagnera tout au long du projet. Deux monteurs d’exposition seront mis à disposition. Le commissaire proposera également une stratégie de communication et assurera la production de tous les textes et documents liés à l’exposition (dossier de presse, livret…). Il concevra enfin l’accueil des visiteurs dans l’exposition (en impliquant le groupe d’étudiants associé) et se rendra lui-même disponible pour un rendez-vous spécial avec le public.

LE PROJET — Sa dimension critique, la qualité, la singularité de sa recherche seront les principaux critères de sélection. aider la création — Depuis les années 80 au moins, avec l’apparition d’Harald Szeemann, de l’Agence pour le travail intellectuel à la demande et de son Musée des obsessions, la notion d’auteur s’applique au médium « exposition ». Si des formations, des bourses et des résidences existent ailleurs en France, ce n’est pas le cas à Toulouse. Cette invitation répond à un manque. Pour autant, elle s’appuie d’abord sur le désir de structures dédiées à la création contemporaine de partager une expérience et une ouverture sur d’autres conceptions de l’exposition.

Calendrier — Ouverture de l’appel : 17 novembre / 11 décembre 2009.
Date limite de réception des projets en pdf : Vendredi 11 décembre 2009.
Pré-sélection de quatre dossiers : Vendredi 18 décembre 2009.
Audition des candidats et sélection : Jeudi 7 janvier 2010.
Workshop d’une dizaine de jours avec les étudiants : Février / juin 2010.

LA CANDIDATURE — LES DOSSIERS DOIVENT PARVENIR AVANT LE 12 DÉCEMBRE EN PDF DE
3,5 MO (MAX.) À [email protected] ET DOIVENT ÊTRE SUIVIS D’UN EXEMPLAIRE
SUR PAPIER ADRSSÉ À « PROJET HYPERTEXTE, 5 RUE DE L’INDUSTRIE, 31000 TOULOUSE ».

Pour télécharger l'appel : http://projet-hypertexte.com/

OPEN CALL: EYEBEAM FELLOWSHIPS 2010

APPLICATION DEADLINE: December 11, 2009.

All applicants will be informed of their application status by January 15, 2010.

CONTEXT: Eyebeam is the leading not-for-profit art and technology center in the USA. Our unique collaborative environment fosters fellowships and residencies, research, education, public programming, and a vital web space, eyebeam.org. We are located in the heart of NYC’s Chelsea art district in a resource rich 15,000 sq.ft. space. Please see the Fellows and Projects sections of our web site for information on current and previous work developed at Eyebeam.

OVERVIEW: Eyebeam is seeking applications from artists, hackers, engineers, designers, curators, and creative technologists to participate in our Fellowship program. Fellows at Eyebeam spearhead new research and develop new work. The ideal Fellow has experience working with and making innovative technological art or creative technology projects, and has a passion for collaborative development. Fellows will bring this experience and working approach to Eyebeam where they will have the opportunity to engage in their own independent projects, projects initiated by other Residents or Fellows, and projects conceived collaboratively with Eyebeam’s staff, Fellows, Residents, and research partners.

Up to four Fellows will be selected for the upcoming 11-month cycle, which will run from March 1, 2010 to January 31, 2011. Selected Fellows will be expected to spend at least four days per week working at Eyebeam. Fellows are expected to contribute to the Eyebeam community as mentors to residents and youth working at Eyebeam and as principals in research initiatives, programs, and education. Leadership in Research Groups is compulsory and is explained further, below.

SUPPORT: Fellows receive a $30,000 stipend during their stay in NYC with Eyebeam. It is possible for Fellows to take on additional external teaching or consulting work, as long as s/he can fulfill commitments to Eyebeam at the same time.

International applicants are welcome to apply, although we do not have the resources to provide travel or accommodation. We are happy to work with selected applicants, where required, to help them to secure funds to cover these expenses. International Fellows are responsible for securing their own visas for the Fellowship period. We are happy to provide paperwork and advice to help expedite the process.

PARTICIPATION: All Fellows are expected to share elements of their practice via formal or informal learning opportunities within the Eyebeam community or our public community. We offer program support in developing work for performance, events, seminars, exhibitions, or other public and educational programming within Eyebeam’s space (and beyond) during the term of the Fellowship.

Core to Eyebeam’s methodology is the brokering of relationships between artists, hackers, coders, engineers, and other creative technologists in the context of an open and shared culture of investigation and critique. We foster and facilitate relationships whereby technologists and artists come together to germinate and incubate their ideas, develop new processes, and create new works through a period of immersion in a social and professional context which is rich in technology, expertise and ideas. Collaborative partnerships at Eyebeam will be fostered though group critiques, discussions and projects and between other Eyebeam Fellows, Residents, and Staff.

RESEARCH GROUPS: Fellows will be expected to collaborate with Eyebeam staff to oversee, develop, and manage emerging research areas in our Research Groups. Research Groups bring together creative practitioners working at Eyebeam as well as expert individual participants and external partners. Initiatives led by Eyebeam Research Groups have included public outcomes such as seminars, workshops, publications, and exhibitions.

Current Research Initiatives: Eyebeam’s current Research Groups include Sustainability, Education, Open Culture, Project Blackbird (Humor and Code), and Urban Research. For more information on each of these Research Groups, including descriptions, related projects, and participants, please see the Research section of our web site. Within each of these Research Groups, Eyebeam is looking for applicants with specific interest in and crossover with their own work in the following inquiry threads:

- Education in Practice: Engagement with artists working in community-based and collaborative projects with youth, peers, or other targeted audiences. We favor ideas over skills and formative experiments over fixed curricula. (Education)

- Design for Social Change: Investigation into collaborative design process and methodology as it relates to creative intervention, activism, and tactical media; expanding our perspectve on “open source” to include the built environment, urban development, and public policy. (Open Culture and Urban Research)

- Open Source Ideologies: Expanding Eyebeam’s ongoing research in Open Culture with a particular focus on intellectual property, licensing issues, and law and its relation to artists and cultural innovators. (Open Culture)

- Food in the City: Investigation into NYC as a locus for media artists to embrace technological innovation and environmental, sustainable, regenerative concerns in synch with green and open source initiatives. The intention is to gather biologists, environmentalists, food activsts and media artists to consider urban agriculture, bio-generative art and other strategies. (Sustainability)

NOTE: We are specifically seeking applicants with advanced expertise and investment in at least one area of our ongoing Research Groups such that each Group will be led by an incoming fellow, with an emphasis on the above inquiry threads. Participation in these research initiatives will directly inform and shape future initiatives, education, and public programming at Eyebeam.

Application Requirements: Applications are only accepted via our online application system. Applications received after the deadline of 11:59 PM (EST), December 11, 2009, will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made. You can create a user/password during the application process and log back into the server to update your application before the final deadline.

Complete applications must include the following information:

- Contact Information
- Resume or CV (.rtf, .pdf, .doc)
- Work samples in the form of URLs or uploaded media. Include a project description with your work sample that explains your contribution to the piece, how it is meant to be viewed and how it relates to your proposed project(s)/research.
- Concise responses to all application questions

Incomplete applications will not be considered.

Online application system, FAQ and other information available at the Eyebeam website.

Thanks, we are excited to hear from you!

Statement on Diversity: Eyebeam is committed to building a diverse creative environment. We recognize diversity as encompassing personal style, age, race, gender, ethnicity, sexual orientation, gender identity, language, physical ability, religion, family, citizenship status, socioeconomic circumstances, education and life experiences. We consequently encourage applications from the broadest possible range of artists and creative technologists to all of our programs.

SIGNAL & NOISE MEDIA ART FESTIVAL 2010

Curator Submission Guidelines
Download the application form here.

Submission Deadline | January 15 2010

Festival Dates | May 27, 28, 29 2010

A/ All text materials must be submitted in digital and print copy.

B/ Please label the front of your envelope with the media/discipline of work in your program

C/ All preview DVD’s should be formatted in Region 0 or NTSC

D/ All video work must screen in NTSC

E/ There is no entry fee. Signal & Noise is a non-competitive festival. Artist and Curator fees are paid in accordance with IMAA or CARFAC fee schedules. Artists are responsible for all material, installation and travel expenses. Signal & Noise has select audiovisual equipment available for presentation. Letters of invitation are available for accepted artists seeking funding.

F/ Signal & Noise is predominantly a time-based festival. Time and space for setup, tech rehearsal and installation is minimal. Please consider these elements of your curatorial proposal upon applying.

G/ All submissions made to Signal & Noise 2010 will be juried. Submission to Signal & Noise does not ensure participation in the festival. Jury notes will not be made available. We cannot return submissions.

Please send submissions to:
Signal & Noise 2010
C/O VIVO Media Arts Centre
1965 Main Street, Vancouver, BC, Canada V5T 3C1
Inquiries:
Tel: +1 604 872 8337 ext. 3
2010 -at- signalandnoise.ca

ELSEWHERE COLLABORATIVE
2010 residencies for artists, curators, scholars, designers and creatives of all kinds

Elsewhere Collaborative, a living museum and experimental production environment in downtown Greensboro, NC, USA is now accepting applications from artists, curators, writers, musicians, designers, gardeners, makers, builders, scholars, producers, and creatives across media for residencies in 2010. Elsewhere is set within a three-story former thrift store, boarding house, and warehouse containing one woman's enormous 58-year collection of American surplus, thrift, and antiques. Elsewhere residencies invites experimental creators to join our collaborating community in utilizing this immense collection of objects, no longer for sale and instead circulating internally, as material or inspiration for site-specific projects that become part of an endlessly transforming environment of objects and works. Artists live and work within interactive installations that provide evolving frameworks for investigating collaborations, community structures, and creative processes. Residency fellowship funding for travel, room and board, are now available in exchange for hosting an educational workshop during the residency. Deadlines are rolling every other month; the deadline for fellowships is January 31 2010. Read more and download a brochure at http://elsewhereelsewhere.org/programs/residencies