Curating.info

- The Pew Center has published an excerpt from art historian Teresa Gleadowe's lovely interview with the late Seth Siegelaub. Questions of Practice: Seth Siegelaub in Conversation with Teresa Gleadowe

- Two views on the art market:
Edward Winkleman's rosy take on the collector: “A Collector of contemporary art is a participant in the dialog. A patron of the visual arts, who has the same obligations to the quality of our collective legacy as do artists, curators, critics, and dealers.”
Compare with Christian Viveros-Fauné's Art's Dirty, Big Secret: “the art market has turned into one big corrupt casino, a place where price fixing, market manipulation, bribery, forgery, theft, and money laundering have become as popular as risky mortgages were in 2007.”

-We'll be keeping our eyes open for The Artist As Curator, a series of texts profiling artist-curated exhibitions.

- Jack Persekian has announced that the Palestinian Museum in Birzeit, to be completed in 2015, will have satellite locations in Gaza, Jordan, Lebanon, the Gulf, and Israel.
See coverage from last year at The Art Newspaper, and the Jerusalem Post.

- Wendy Earle's polemic on technology in museums argues that "[t]he drive to 'engage' patrons with gadgets strips museums of their innate wonder."

- Who Sees What – An interview with curator Christopher Eamon. Interview by Zoltan Aprily

- And, a few lists to remember 2013 by:
Artsy's Top 10 Museum Exhibitions
Jerry Saltz' Top 10 New York shows
10 Biggest Art Disasters of 2013
Happy Famous Artists' Top 10 Shows
Top 10 Art Sales Of 2013
Top 10 Performance Artworks
Top 10 American shows from Modern Art Notes
And Hyperallergic's 20 Most Powerless People in the Art World

Deadline: February 3, 2014
Call for Curatorial Residents 2014-15

221A is an artist-run centre located in Vancouver, Canada with a mandate to explore design within contemporary art. Projects are presented in the form of exhibitions, talks, publications and special projects that address design in its widest sense, which may encompass graphics, objects, architecture, or, more broadly, social codes and conventions.

221A is seeking proposals from practicing artists, designers, architects, academics and/or curators, including curatorial collectives, for the 2014-15 Curatorial Residency Program. Started in 2010, the Curatorial Residencies program was implemented to diversify our curatorial approach to our mandate. Residents take on the critical function of working both inside and outside of the organization, offering their experience and ideas towards the continued development of the organization.

Selected residents will be expected to work with the Executive Director to conduct research and develop a curatorial project plan over the course of 2014, and to execute the project during 2015. Curatorial residents are expected to develop a work plan that reflects their individual practice, while meeting research and presentation deliverables established by the organization. Projects may include exhibitions, performances, publications, talks or special projects. Proposals must discuss a viewpoint, theory or approach that the project hopes to foster in relation to the organization’s mandate. Additionally, selected curatorial residents are expected to participate in the Curatorial Committee, meeting monthly, to offer feedback to other curatorial residents and the overall program. The committee offers a space for reflection on the wider program at 221A and a connection between curatorial residents, staff and community.

Proposal Guidelines
Applicants must submit a digital proposal to [email protected] with the following:
• a one-page project proposal, describing the curatorial argument and its relationship to the mandate of the organization;
• a current CV of each of the key contributors (maximum 2 pages each);
• related images/texts as required and a corresponding list indicating the title/description, artist(s) and year of each image/text (pdf or jpegs, max. 15 images, or up to 10 min. of audio or video). For larger format images or videos that cannot be transferred by email please include instructions for access.

Proposals should demonstrate the project’s overall intention and background and are only expected to include pertinent details. Applicants who intend on proposing self-curated projects must describe the reasoning behind this approach. Further research and development of the project is expected upon selection and acceptance.

Selections Process
Project proposals are shortlisted by a committee comprised of members of the Board of Directors and the Executive Director and final selections are made by the Executive Director. Selected applicants will be contacted in March 2014. The proposals are assessed based on the organization’s mandate and the current overall direction of the programming, as defined by the Executive Director. During the proposal process, the name of the applicant and some formal qualifications may be omitted from the view of the selections committee to privilege the importance of art and ideas over name recognition. Please note that only applicants under consideration will be contacted. After selections have been made, candidates will be given the opportunity to read over and consider the residency details before signing a formal agreement.

Funding
221A is a non-profit organization funded through a mixture of self-generated income, private donations and public funding. Curatorial Residents will be expected to produce a project with a budget of $5,000-$10,000 CDN. The budget allocation will be dependent on the organization’s overall funding conditions and the scope of the project. Curatorial residents are paid a minimum curatorial fee of $2,000 out of the total budget and all projects must pay professional fees to participants at above CARFAC’s minimum fee schedule.

Deadline, Monday, February 3, 2014 no later than 11:59pm PST

Inquiries, Bopha Chhay, Projects Coordinator at [email protected]


Source: http://221a.ca/call-2014-15/

Call for Curators:
DISJECTA CONTEMPORARY ART CENTER 2014 - 2015 CURATOR-IN-RESIDENCE


Portland, Oregon-based Disjecta Contemporary Art Center is accepting proposals for a Curator-in-Residence for its 2014-2015 exhibition season.
Disjecta houses an expansive exhibition space for the presentation of visual and performing arts at the regional, national and international level that speaks to the region’s diverse interests, talents and identities.
Supported in part by a grant from The National Endowment for the Arts, the CIR program—the first of its kind in the region—provides an opportunity for emerging local and national curatorial talent to develop and expand the scope of their practice through a one-year residency. Curators actively engage with a broad range of artists to create a series of exhibitions in Disjecta’s dynamic 3,500-square-foot space.
Throughout the season (September 2014 through April 2015) the Curator-in-Residence will organize four to six exhibitions. The nature of Disjecta’s exhibition space and mission facilitate contemporary work that is installation-based, specific to the site or project-based—though these should not be considered limitations. Disjecta encourages artists and guest curators to challenge themselves and viewers, to take intelligent risks, and to expand definitions of disciplines.

ABOUT DISJECTA
DISJECTA Contemporary Art Center builds ambitious programs that promote artists and engage communities.

DISJECTA provides a professional platform in which artists can realize their best work and engage new audiences. Our dynamic programs showcase new work and fuel collaborations between artists, curators, and viewers that impact and intervene in the larger contemporary arts dialogue. DISJECTA exacts equal rigor from local and national artists, while recognizing and supporting the talent of the region.

JOB DESCRIPTION

Scope of Work
Solicit and select artists for four to six exhibits (one must emphasize regional Pacific Northwest work) and oversee exhibit planning, budgeting and design.
Administer contracts, schedules and budgets in collaboration with Disjecta staff.
Assist in planning and attend opening receptions, group tours/curator talks, artist talks and workshops with exhibiting artists.
Communicate the mission and goals of Disjecta while bringing a unique curatorial vision to the program.
Convey key messages about artists’ work and Curator-in-Residence exhibits to Disjecta staff for media materials.
Prepare drawings, models and sketches as required.
Participate in fundraising duties as needed or assigned. 


Desired Qualifications
Minimum three years curatorial experience.
Awareness of contemporary arts issues, practices and artists. A clear and distinct curatorial vision that is consistent with Disjecta’s mission.
Knowledge of or willingness to become familiar with regional contemporary art.
Ability to work both independently and as part of a team within a larger arts organization.
Ability to organize and communicate messages effectively through writing and public 
presentation.
Ability to manage exhibition budgets.
Ability to meet deadlines.
Graduate-level education in curatorial studies or a related field is preferred but not required.

Financial Considerations
Curatorial stipend between $5,000-$9,000 commensurate with experience. Please note, it is not a requirement that the curator reside in Portland for the duration of the program, however travel will be a necessity and candidates must be able to demonstrate flexibility of schedule.

SUBMISSION REQUIREMENTS
All applications must be sent via email. No exceptions. The subject line must read: Curator-in Residence Application.
Please include the following:
Examples of past curatorial work, including images and critical reviews.
Curatorial statement and vision for the Disjecta Curator-in-Residence Program.
Professional resume.
Two writing samples.
Three professional references.

Proposals are due to Disjecta by Friday, January 31, 2014 Midnight PST. Please forward application materials to Bryan Suereth at [email protected]. Qualified candidates will be contacted in February. No phone calls please.





Source: http://www.disjecta.org/media/transfer/doc/disjecta_announces_2014_2015_call_for_curators.pdf

Art Gallery of Ontario


Title Chief Curator
Posting Number 1011890
Status Regular Full-Time
External Posting
The Art Gallery of Ontario, located in Toronto, Ontario, Canada is among the most distinguished art museums in North America with a collection of more than 80,000 works of art. It offers a remarkable art experience with each visit. In November 2008, the museum re-opened to international acclaim in a newly designed Frank Gehry building. Contribute your leadership skills, intellectual rigour and successful exhibition programming experience to the success of the AGO through the position of:

Chief Curator

The Art Gallery of Ontario seeks a Chief Curator to lead in developing the artistic vision and programming of the AGO, and the development of exhibition and collection projects that are based in the institution’s Strategic Plan, and which deliver on its commitment to audience engagement. The Curatorial Affairs Division includes curatorial, collection development, registration, conservation, and publications. Provides overall team leadership to department staff. As a Leadership Team member, works collaboratively with colleagues to achieve the AGO’s strategic goals and corporate success.

The new Chief Curator must be deeply committed to exploring the changing nature of art museums and their relationship to the public and to nurturing relations with our donors in order to continue to build and preserve our collection. The Chief Curator will embrace and champion the museum’s core value, namely that the experience of our visitor is paramount to our mission, strategies and achievements.

Our ideal candidate will be able to demonstrate their experience as an exceptional leader of people, ideas and institutional mission, with the dynamic communications skills to engage staff, donors and the public. You are a strategic thinker with experience at the senior management level of a museum collaborating and overseeing projects relating to exhibitions, installations, publications, and collections care and administration. You possess a deep and broad working knowledge of curatorial practices gained in museums that have sought and achieved imaginative ways of engaging with their visitors and which have met targeted results. An advanced degree in Art History or extensive equivalent related experience in art exhibition and program planning and production will be required.

Canadians, permanent residents, and/or foreign nationals with a valid work permit will be considered with priority.

We invite individuals who reflect the diversity of our visitors to apply. This position will be posted until filled: to submit your appication please follow the instructions for 'New' and 'Returning' applicants above. If you are including a cover letter, please address this to: The Hiring Manager.


Source: http://www.ago.net/jobs

Western Front Society Seeking Exhibitions Curator

Job Title: Exhibitions Curator
Position Type: Full time 3-year contract (renewable), 35/hour per week, occasional weekends and evenings. 3-month probationary period
Experience: 3+ Years

Description:

The Western Front Society seeks an outstanding, highly motivated arts professional to take on the role of Exhibitions Curator.

The Western Front was founded in 1973 by a group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus volunteers and interns, the Western Front produces upwards of 75 events annually. The Exhibitions program mandate is to present contemporary visual art by local, national and internationally artists. Western Front Exhibitions has historically focused on artwork that is conceptual, performative or otherwise ephemeral in nature. Currently the program privileges experimental, interdisciplinary work that often expands beyond gallery exhibitions to include discursive events, publications, public-realm projects, site-specific works, commissions and online projects.

How to Apply:

Download attached PDF for further information.

Western Front is committed to the principals of Employment Equity and encourages application from Aboriginal persons, members of visible minority groups or persons with a disability.

Applications containing a letter of interest and curriculum vitae must be received by 5:00PM on Friday January 24, 2014.

Please send applications by email to: Exhibitions Curator Hiring Committee Email: [email protected]

We thank all applicants for their interest, but only candidates selected for an interview will be contacted.


Source: http://front.bc.ca/events/western-front-society-seeking-exhibitions-curator/

Curatorial Open Call
Application deadline: February 1, 2014

We are pleased to invite independent curators and arts professionals to submit exhibition proposals to be considered for the 2015 Cuchifritos Gallery + Project Space exhibition schedule.

Selection Process
Reviewed by the Artists Alliance Inc Curatorial Advisory Committee–comprised of representatives from the local contemporary arts community–proposals will be selected based on conceptual rigor and artistic quality. Consideration will also be given to the individual/group’s ability to meet the artistic mission of Artists Alliance Inc and Cuchifritos Gallery. Successful applicants will articulate a particular need or desire to exhibit within Cuchifritos Gallery and the surrounding community.

When submitting proposals, please carefully review and follow the guidelines outlined below. Applications that do not follow the submission guidelines will not be considered. Please note, you do not have to be a professionally trained curator to submit a proposal as submissions will be judged on merit; however previous exhibition experience will be weighed as an important factor in the selection process. We strongly encourage one, two, and three artist exhibitions, given the smaller scale of the gallery space. Artists who are acting in the curatorial role for the proposed exhibition may not submit a proposal that includes his/her own work.

Selection Criteria
- Quality of the proposed exhibition [preference given to new and site-specific work]
- Need to exhibit in Cuchifritos Gallery + Project Space [based on Project Proposal]
- Project feasibility [based on Project Proposal]
- Artistic merit and professional record [based on artist(s) and curator(s) bios, CV, and work samples]

Eligibility
All artists and curators are eligible – regardless of age, gender, or nationality – EXCEPT:
- those who are currently enrolled in a college or university program
- those who currently have NYC gallery representation

Submission Guidelines
Proposals must be submitted by the exhibition curator and include the following:

1. Proposal sentence: one concise sentence summarizing your exhibition

2. Project Proposal (max 300 words) please include the following:
– Exhibition description outlining conceptual and thematic goals
– Artist(s) to be exhibited
– Checklist of work to be shown
– Specific interest in Cuchifritos Gallery + Project Space
(Please note: Curators who make art may not include their own work in their proposal.)

3. Background
– Curator(s) CV and bio (max 100 words)
– Artist(s) CV and artist statement (max 100 words)

4. Sample Work (max 10 images total)
– JPGs should be a maximum of 1200 x 1200 pixels
– Each file should be labeled “artist last name_title of work”

5. Image List with name, title, year, dimensions, and medium. Include a brief sentence describing the work submitted.

Application deadline: February 1, 2014
Submit items 1-3 as a single PDF and attach sample work JPGs in a zipped folder (.zip).
Do not include any application material in the body of your email.

Please address all proposals with the subject “2014 Curatorial Open Call – CURATOR NAME” and submit materials to [email protected]

Additional Information:
Stipends: We offer modest stipends for curators and participating artists, dependent upon funding resources.

Exhibition Information: Duration of exhibits run for 4-6 weeks and are typically scheduled 12-18 months in advance.

Cuchifritos Gallery Floorplan: Click here to download a floor plan of the gallery

Gallery Hours: Tuesday to Sunday from 12 to 6pm (Please note that the gallery is also open by appointment and closed on all major holidays)



More information:
http://artistsallianceinc.org/cuchifritos-gallery-2/submission-policies

JOURNAL OF CURATORIAL STUDIES

CALL FOR PROPOSALS: CURATING AND THE AFFECTIVE TURN

Edited by Jennifer Fisher and Helena Reckitt

The Journal of Curatorial Studies seeks original research articles for a special thematic issue on how the affective turn has influenced curating and exhibitions.

From immersive installations to phantasmagoric projections, intimate performance to site-based biennials and civic events, contemporary curating increasingly operates within the realms of affect. Curators configure atmospheres in a number of ways – to situate artworks, attract audiences and mediate social bonds. Curatorial labour also extends to mobilizing personal networks, where generating emotional climates produces forms of symbolic capital essential to underwriting curatorial production in often under-funded and precarious conditions.

Stemming from recent theorizations of the affective turn, this special issue will ask: What are the affective conditions of the curatorial? How is affect transmitted in exhibitions and curatorial projects? Beyond an exhibition’s representative and discursive significance, what are its affective registers? What energies feed the curatorial process? And, by extension, how does the tone of social networks pertain to the affective labour of curating?

Where museums, galleries, art world events, and artworks themselves function as contact zones where affect is transmitted, this special issue invites submissions that inquire into how curatorial affect shapes relations between feelings, intuitions, artworks, spaces, audiences, social networks, politics, ethics, and sensibilities. A range of contributions is sought, from exhibition case studies, curatorial memoires and auto-ethnographies, to speculations into the ethics of curatorial conduct governing the transmission of affect.

Potential Topics can include:
- Affect theory as a mode of analysis for curatorial and exhibition studies
- What feeling states govern the culture of current curatorial conditions (such as being affected, disaffected or unaffected)?
- How might relational forms (such as social conviviality, love of art, or mutually respectful agonistic struggle) be considered as affective registers? How might other affects pertain in recent curatorial practice?
- How do exhibitions configure affect as mood, atmosphere and intensity? How might such articulations produce new communities of feeling and sensibility?
- The politics of affect in relation to curatorial attitude, habits, self-formation and style subcultures

Timeline:
February 1, 2014, CVs and abstracts due (250 words)
September 1, 2014 manuscripts due (5-6000 words)
Publication in issue (4)3 Fall 2015

Please send submissions and correspondence to:

Jennifer Fisher
Associate Professor of Contemporary Art and Curatorial Studies
York University, Toronto
[email protected]

Helena Reckitt
Senior Lecturer in Curating
Art Department, Goldsmiths, University of London
[email protected]

- Nguyen Nhu Huy on 'Western curators,' the Singapore Biennale, and Vietnamese contemporary art. Art Radar Asia.

- Tanya Toft's Urban Media Aesthetics promises to research and circulate literature on “artistic and curatorial practices with digital art forms in urban environments.”

- Hyperallergic's An Xiao on San Francisco's 'airport art' - Curating at the Airport: The SFO Museum.

- Check out filmmaker Pedro Lino's short documentary on the exhibition Luanda, Encyclopedic City, which won Angola the 2013 Venice Biennial's Golden Lion for best pavilion.

- Okwui Enwezor named director of the 2015 Venice Biennale.

- Bill Burns flies messages to curators over Art Basel Miami. Interview at Canadian Art.

- “The prize sought out by the Curatron software is the algorithm for the perfect,
or at least perfectly coherent, thematic group show.” Curatron – the curatorial software.

- Curator Lindsey Howard interviewed about Paddles ON!, the 'first digital art auction'.

- With a healthy amount of tongue-in-cheek, a Change.org petition calls to “APPOINT KANYE WEST TO CURATE THE 2015 VENICE ART BIENNALE.”

- MICA's curatorial practice program has published a reading list definitely worth perusing.

- Curatorial consultation with a Feng Shui master. Art in America.

- OnCurating has launched Issue 19 - On Artistic and Curatorial Authorship.

- Hyperallergic picked their favorite unanswered questions from last month's Ask a Curator Day.

- Following a flurry of international criticism against Manifesta's disregard of a boycott calling to move the upcoming biennial away from Russia, Moscow Biennial curator Catherine de Zegher defends her decision to continue her work in the country.
Also, Dmitry Vilensky (of Chto Delat) has chimed in on the relative effects of a boycott within Russia, and the incapacity to develop “a neutral space for discussion in Russia.”

- Curating Beyond Exhibition Making. ICI and Clocktower Radio's roundtable discussion podcast with Anthony Huberman, Chus Martínez, Sally Tallant, and Dominic Willsdon, moderated by Kate Fowle.

- ArtRadar has interviewed the curators of the Venice Biennial Angolan pavilion—winners of the Golden Lion for Best National Participation—about the future of contemporary art in Angola.

- And finally, British art critic Waldemar Januszczak has lambasted “that awful art world species: the curator.” Why the art world needs to rise up against curators, the Guardian.
Responses have cropped up on Twitter, from Tom Jeffreys, Sofia Romualdo, these guys, and some great comments on our Facebook wall.

- What happened to the expert curator? “people are creating meaning themselves – online, inside, outside and in rings around the snail-paced bureaucracy that has come to characterise most cultural institutions.” Daniel Blight for the Guardian.

- "Curators are nothing without art, no matter what the most meta-inclined of curatorial theorists might argue." Frieze's Dan Fox invites eight artists to reflect on Being Curated.

- 'The Importance of Curators.' Report from last month's conference Curators: Can't Live With Them, Can't Live Without Them at England's South Western Federation of Museums and Art Galleries.

- Despite boycott calls from arts communities globally, and a petition with 1,884 signatures (as of this posting), Manifesta 10 Sticking With Russian Location.
Manifesta director Hedwig Fijen is quoted as saying: “To withdraw would mean to ignore the voices of our contemporaries and emerging generations in Russia.”

New Museum Senior Research Fellow
New Museum
(New York NY)


Overview:

The New Museum seeks a Senior Research Fellow to provide historical research support and to develop online, printed, and other discursive content for the museum’s curatorial and educational programming. The Fellow, operating within both the curatorial and education departments, reports to the Director of Exhibitions and the Director of Education . The Research Fellow will gain invaluable experience in the theory and practice of curation, education, exhibition, administration, and other museum functions as well as play a critical role in the development of the New Museum Digital Archive. The Fellow will work to emphasize the necessary art historical links between the museum’s upcoming exhibitions and other programs and the ever-evolving canon of contemporary art. This work will enrich both the public’s experience of our digital and other scholarly resources as well as the curatorial department’s exhibition planning. This position is a two-year post with a competitive salary and benefits. The post begins fall 2013 and concludes summer 2015, with the opportunity for a one year extension as appropriate.

Duties:

1.Conduct extensive research on the historical context of upcoming New Museum exhibitions and provide comprehensive syllabi on key concepts and themes.

2.Coordinate the periodic convening of curator and scholar research groups for upcoming exhibitions, which will result in online and/or print publications.

3.Participate in writing and editing online and printed publications for exhibitions.

4.Participate in conceiving, writing, and editing thematic volumes, including the New Museum Anthologies.

5.Develop exhaustive bibliographies of primary source documents for exhibitions which will be shared with curators during exhibition planning and later with the public on the Digital Archive.

6.Organize public programs, such as lectures and panels, on themes related to upcoming exhibitions and other museum projects.

7.Curate thematic features within the Digital Archive that relate issues and themes of upcoming exhibitions to the museum’s programmatic past, and examine artists’ early works in relation to current works.

8.Develop a longer and more in-depth term research program on one or two key thematic tracks relating to New Museum exhibitions and projects, which will result in online Digital Archive features, as well as a print publication and/or scholarly convening.


Qualifications:

-Pre - or post-doctoral candidates; art history or curatorial studies focus.

-Field of expertise within contemporary art.

-Previous experience working in a museum setting and/or curating exhibitions desirable.

Application:

This full-time position begins in September and requires on-site availability at the museum.
Interested candidates should e-mail a letter of interest, resume, three reference contacts, and a writing sample to [email protected] with the subject line “Senior Research Fellow.” We will be conducting interviews from September 9th – 12th and will be in touch should your qualifications fit our needs. No phone calls please.

Website: http://newmuseum.org

Curatorial Associate, 2-year appointment
MoMA PS1
(Long Island City NY)


REQUIREMENTS:
Bachelor’s degree in Art History or a comparable academic field, Master’s degree preferred.
Demonstrated work experience successfully organizing exhibitions with budgetary responsibility and experience managing staff. Strong writing, research and organizational skills as well as attention to detail. Ability to create and realize program priorities, including managing multiple projects with competing timelines and budgets. Thorough knowledge and understanding of contemporary art world. Must be able to travel internationally.

RESPONSIBILITIES:

Works with the Director of MoMA PS1 and other staff to manage and coordinate the international tour of a multi-faceted group exhibition. Manages communication between all parties, including host venues, the Director of MoMA PS1 and related curators, exhibition sponsor and registration staff. Manages production schedule and budget.

Performs the duties of exhibitions assistant, including research on subjects such as artists, specific works, locations of works, photograph sources, etc. Assists with arranging loans, catalogue preparation, preparation of checklists, coordinating and scheduling work to be done within the Museum and without. Assists with the preparation of wall labels and public texts.

Assists exhibition curatorial staff in all areas of their responsibilities including administrative work in support of exhibitions and publications.

Works with curatorial interns as assigned.

Keeps informed of current activity through gallery and Museum visits, publications, etc. and conveys observations to the senior staff.

Any other duties reasonably related to the functions described above.


REPORTS TO: Curator

TO APPLY: Applications should include a CV and a writing sample, and will be accepted until 9/18 by email to:

[email protected]
Website: http://momaps1.org

KRAN FILM RESIDENT
In October and November 2013, KRAN Film is organising in Brussels two residencies for cultural operators, with a particular interest in independent, non-commercial video art and art films. During the period of 10 days, each resident will have the opportunity to visit Flemish film and video archives (Argos, VAF, Cinematek, Plus-tot te laat, Cinema Nova, Auguste Orts, 68septante, Kran Film Collective); meet Flemish film makers and film professionals; deliver a lecture, debate or presentation at the RITS School of Arts; and present a screening programme at Beursschouwburg.

In total, two residents will be selected – one for the October and another for the November residency.

The residency offers travel costs to Brussels (return ticket – limited amount), accommodation, per diems, fee and a small budget for screening rights costs.

eligibility
This call is addressed to international programmers, programme managers, curators and film experts with an interest in independent film and video art, who are working worldwide in the institutional or non-governmental sector, including PhD researchers. The call excludes the commercial film sector. Residents who do not live and work in Belgium may apply to the call. The applicant should send a CV and a short motivation letter. The motivation letter should clearly state how the resident will benefit from the residency programme and his/her vision of the implementation of gained experiences in the resident’s future career.

focus
The residency is organised around different themes that Kran Film, together with its partners and residents, would like to examine in 2013 and 2014. In 2013 we will be specifically exploring following themes:
1) labour (October residency), and
2) gender (November residency).

Please read the context on the bottom of the document for more information.

application guide
The applicant selects one of the focus themes
to further explore within the residency
(either labour or gender).
The applicant submits a CV and a motivation letter.
The motivation letter may not exceed 700 words.

Within the motivation letter, the applicant:
a) clarifies his/her experiences and interests in the residency, and selected theme;
b) proposes film artists he/she wishes to meet up with;
c) proposes a (draft for the) lecture/debate/presentation; and
d) proposes a (draft for the) screening programme.

Both the lecture/debate/presentation and the screening programme should be developed around the selected theme.

deadlines and selection procedure
There are two deadlines for submitting applications:
1) The applicant who wishes to further explore the theme of Labour should apply by 10th September, 2013.
2) The applicant who wishes to further explore the theme of Gender should apply by 24th September, 2013.
It is possible to apply for both residencies, although accepted applicants can only receive one residency.

Applications may be submitted online via the following e-mail address: [email protected]

or via post mail service to:
Kran Film (residency)
Aalststraat 7-11
Suite A3.1
Belgium – Brussels 1000

The selection committee consists of representatives from Beursschouwburg Brussels, the RITS School of Arts, BAMart, Argos and KRAN Film Collective. The selection committee will gather twice to choose two residents in total for the residency programme in 2013. Results will be announced a few days after the deadlines.

The October residency will be held from 18th and 27th October 2013.
The November residency will be held from 13th and 22nd November 2013.

residency structure
The resident will be visiting Flemish film and video archives that will preselect films for the resident’s visit in accordance to the residency theme. Meetings with filmmakers and other film professionals may also be organised on the resident’s request.

The resident will deliver a lecture or a debate or a presentation at the RITS School of Arts in Brussels. The lecture/debate/presentation is to be developed around the chosen theme (labour / gender) and will take film as an analytical device. This event will be organised for the students, film professionals and film fondlers at the RITS School of Arts.

The resident will prepare a screening programme to be developed around the chosen theme (already presented with the motivation letter). It is highly recommended that the resident includes at least one film from the Flemish film or video archives he or she will visit during the residency period. This event will take place in Beursschouwburg, Brussels, at the end of the residency period. Screening programmes will take place on 26th October for the first residency (labour) and 21st November for the second (gender).

Language
English is the official language of the residency.
If the language of the films on the screening programme is not English, the film should have English or Dutch subtitles.

Context
In 2013 and 2014 KRAN Film residency programme aims to explore the notion of a relational citizenship. The programme is concerned with stereotypes about identities that persist in Europe despite the fall of the Berlin Wall in 1989 and increased migrations. Instead of uniting in its diversity, Europe is dividing along ethnic, religious or gender borders. It is in this regard that the forms of living together in migrating Europe have to be challenged. Examining these circumstances, the residency wishes to raise questions of citizenship in a multinational and multiethnic society, about neo-liberalism, migrations, populism, de-colonialism, gender, ethics and the like. Eurocentric and multipolar order, as well as contingent and precarious identities are to be examined.

In 2013 we will be discussing two themes: labour in October and gender in November.

Labour – Today, when multinationals seek out cheap labour and focus on export regardless of local needs, advanced economies face growing unemployment and developing countries suffer from a lack of adequate market access. It is in this light that we want to envisage the ethical issues regarding labour and economy as they encourage nationalism, migration and poverty.

Gender – Judith Butler comes to terms with the use of an ontology of sexual difference as a justification for norms of gendered behaviour. For her, the body “has no ontological status apart from the various acts which constitute its reality” and it is considered to be contingent and discoursivly constructed. This is the position from which we argue freedom for all, equal treatment of all differences, and acknowledgment of multiplicity of subject positions.

.
.

Kran Film Collective is a Brussels and Copenhagen based network of international visual artists and film makers from outside the traditional realm of filmmaking. Kran Film is engaged in a critical approach to society we live in through film and video art.


Further Information: http://kranfilm.net/residency/

- Visitor engagement, participation, 'gamification' and the experience economy. A polemic from The New York Times' Judith H. Dobrzynski: High Culture Goes Hands-On.

- Growing fury over the prevalence of unpaid internship positions in galleries and museums, from Museums Association.
See also:
organizations Internaware.org, Art But Fair, and Interns Anonymous,
recent articles:
Unpaid Interns Fight Back, Hyperallergic,
The Manifesto for Good Curatorship, Collections Trust,
Opportunity Costs: The True Price of Internships, Dissent Magazine,
and last year's piece in Forbes: Are Creative Careers Now Reserved Exclusively For The Privileged?

- M+ Museum: Hong Kong's Ambitious Undertaking on a Global Scale. On the new museum's curatorial vision.

- Gunnar B. Kvaran interviewed on his Lyon Biennial.

- Amid international outrage surrounding Russia's anti-gay laws, and calls to boycott the upcoming Olympics, Irish curator Noel Kelly calls for Manifesta, The European Biennial of Contemporary Art, to “reconsider St Petersburg as their next location.” Petition at Change.Org.
German curator Kasper König has recently been named as Manifesta 2014's Chief Curator. Apparently König “has defended art against censorship by conservatives...”
-Also, Given Russia's Anti-Gay Laws, Should Manifesta Ditch St. Petersburg?. Blouin ArtInfo