Sobey Art Award 2017

 Sobey Art Award 2017 | Nomination deadline: March 3, 2017, 12pm 
Nominations for the 2017 Sobey Art Award open on Friday, February 3, 2017. The pre-eminent award for contemporary Canadian art was created in 2002 by the Sobey Art Foundation. It is an annual prize given to a Canadian artist age 40 or under who has exhibited in a public or commercial art gallery within 18 months of being nominated. A 50,000 CAD prize will be awarded to the winner, along with 10,000 CAD prizes for the short listed artists and 500 CAD prize to each of the remaining long listed artists.
The Award’s 2017 long list of nominees will be announced in April and the short list will be released in June. An exhibition of works by the five shortlisted artists will be presented at the Art Museum at the University of Toronto from October 24, 2017 to December 9, 2017. The winner of the 2017 Sobey Art Award will be announced at a gala at the Art Museum at the University Toronto on October 25.
The 2017 curatorial jury panel, chaired by National Gallery of Canada’s Senior Curator of Contemporary Art, Josée Drouin-Brisebois, is composed of a representative from a noted gallery in each of Canada’s five regions: the Atlantic Provinces, Quebec, Ontario, the Prairies and the North, and the West Coast and Yukon, and one international juror.
For more information and nomination guidelines please visit gallery.ca/sobey, or contact:
Sobey Art Award
c/o National Gallery of Canada
380 Sussex Drive
P.O. Box 427, Station A
Ottawa, ON K1N 9N4

About the Sobey Art Award process
The National Gallery of Canada will accept nominations for the 2017 Sobey Art Award from recognized agents and institutions. The curatorial jury panel will oversee the award selection process. From the complete list of nominated artists, the jurors will create a long list of five artists from each region. Their choices will be based on professional knowledge of their regions and of the national and international art scenes. The panel will then choose one representative from each region to be included on the national short list and in the 2017 Sobey Art award exhibition. The panel will also select the final award winner.
About the Sobey Art Foundation
The Sobey Art Foundation was established in 1981 with a mandate to carry on the work of entrepreneur and business leader, the late Frank H. Sobey, to collect and preserve representative examples of 19th- and 20th-centuries Canadian art. In one of the finest private collections of its kind, the Sobey Art Foundation has assembled outstanding examples from Canadian Masters such as Cornelius Krieghoff, Tom Thomson and J.E.H. MacDonald. The collection is on view in the former home of Frank Sobey and his wife Irene in Pictou County, Nova Scotia.
About the National Gallery of Canada
The National Gallery of Canada is home to the most important collections of historical and contemporary Canadian art. The Gallery also maintains Canada's premier collection of European Art from the 14th to the 21st centuries, as well as important works of American, Asian and Indigenous Art and renowned international collections of prints, drawings and photographs. In 2015, the National Gallery of Canada established the Canadian Photography Institute, a global multidisciplinary research center dedicated to the history, evolution and future of photography. For more information, visit gallery.ca and follow us on Twitter @gallerydotca.
For all media enquiries, please contact:
Josée-Britanie Mallet, Senior Media and Public Relations Officer
National Gallery of Canada
T + 1 613 990 6835 / bmallet@gallery.ca
Bernard Doucet
Sobey Art Foundation
T + 1 902 752 8371 ext. 2301
C + 1 902 921 1755

Daniel Morgenthaler: Curating? Corating! | lecture

Curating? Corating!  
the public lecture by Swiss curator and author Daniel Morgenthaler
9th February at 6 pm at Project Room SCCA
Project Room, SCCA-Ljubljana, Metelkova 6, Ljubljana
image: Mediengruppe Bitnik, Delivery for Mr. Assange, Helmhaus Zürich, 2014.
Replica of Julian Assangeʼs office at the Ecuadorian embassy in London. Photo: FBM Studio.
About the lecture
It is a bit like picking up weapons in the digital architecture of an ego shooter game: Ancient Greek and Roman orators memorized their speeches by placing portions of content in different rooms of an imagined or remembered architectural structure. While giving their speeches, they would make their way through this brain architecture, gathering up contents along the way, aiming for the exit – i.e. the finale of their speech. As curators, we are – usually – not working in imagined architectures, if, then maybe in digital ones. But perhaps there are certain parallels between organizing speeches using the “method of loci” and organizing exhibitions in the chain of rooms that constitute an art space. And maybe exhibition making is also a kind of mnemotechnology: placing content in rooms, along the logic or rhetoric of a certain topic.

What can curators learn from orators, ancient or contemporary? Are exhibitions of contemporary art maybe less a tool of memory – that’s more the thing of historical museums – but of mnemory, with an n? Places of thinking art, of rethinking art, of memorizing tendencies? Literary theory is widely – and sometimes too generally – applied to arts. Could the principles of rhetoric be applied to curating, to more effect? These and other questions will be discussed in the context of future and past exhibitions at Helmhaus Zürich.

Daniel Morgenthaler (1978) has studied English, German and Philosophy in Zurich and Sheffield. Since 2011 he works as a curator at Helmhaus Zürich. Exhibitions include Talk to the Hand, 2013, !Mediengruppe Bitnik – Delivery for Mr. Assange/Christian Waldvogel – unknown, 2014, Asia Andrzejka Naveen – Mas cerca/De La Fuente Oscar De Franco – Bluecore, 2015. As a freelance author, he contributes to exhibition catalogues, magazines and newspapers like Kunstbulletin, Züritipp and Apartamento. He regularly teaches at the MAS Curating and the MFA at the Zurich University of the Arts. Together with critic and curator Aoife Rosenmeyer and supported by Pro Helvetia, he established Crritic! a workshop programme concerned with critical writing in Switzerland, in 2014.

ZK/U Open Call for Residence 2017

Center for Art and Urbanistics (ZK/U) Open Call for Residence 2017
Deadline: March 31st, 2017

The programme is open to a range of contemporary artistic positions that are conceptual, interventionist, contextual and critical within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. The guidelines can be found on our website or by the following link: Application Guidelines
 In the context of its art and research residency programme, ZK/U offers a ‘living & work’ space for artists, scholars and practitioners that concern themselves with the phenomenon of ‘the city’. The programme is open to a range of contemporary artistic positions that are conceptual, interventionist and contextual. Work at ZK/U is informed by theoretical and practice-based critiques within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. Residents are encouraged to involve themselves with ZK/U’s programme and to propose their own formats. In the frame of this Open Call, ZK/U is particularly interested in initiatives that create spaces for encounter and exchange between citizens from diverse backgrounds; formats that question and reclaim urban infrastructure and public space for the commons; practices that make global complexities graspable in a local context; and projects that imagine forms of local belonging within post-migration societies.
Conceptual framework of the ZK/U Residency programme:

Application Process: http://www.zku-berlin.org/apply/


Thomas Huber,Vanessa Billy,Sonia Kacem @ Centre Culturel Suisse| Paris

Thomas Huber, Vanessa Billy and Sonia Kacem with exhibitions @ Centre Culturel Suisse in Paris
Thomas Huber: extase (ecstasy)
January 21–April 2, 2017

 photocredit: Thomas Huber, Fontaines, aquarelle, 53,5 x 72 cm, 2016 / © VG Bild-Kunst, Bonn
Thomas Huber: extase (ecstasy)
Nearly 30 years after his exhibition at the Centre Pompidou, Thomas Huber is literally taking possession of the large room at the Centre Culturel Suisse, where his work is wholly focused on the figure of Eros. This exhibition by the Berlin-based Swiss painter is made up of drawings, watercolours and large-scale wall paintings made on-site. “What I want to do is articulate the genius loci, that is to say, the exhibition space, by painting this Eros that connects us all.”.Protuberant and receding domes, constituted by gigantic vulva–fountains, are painted directly onto the walls. Reflectively imaged in these wall paintings, the exhibition space also houses a set of drawings and watercolours. For the artist, this manipulation by means of images offers magical possibilities: the representation of the space acts on the space itself. Huber thus transcends the image of the sexual organs, which are often considered unaesthetic, or even ugly, by giving them an aesthetic form, by making them “beautiful.”. The exhibition is accompanied by an artist’s book, also titled extase, containing a selection of 80 erotic drawings and watercolours taken from the 66 sketchbooks that the artist has used since 1972, and never previously published.
On January 25 at 7 pm, Huber will give a speech, titled Séance, in relation to the exhibition.
photocredit; Thomas Huber, Séance, 2009 / Collection privée, Genève © VG Bild-Kunst, Bonn

Thomas Huber was born in Zurich in 1955. He lives and works in Berlin. The titles of his exhibitions are always carefully chosen. Of his many shows since 1982, the most recent include A l’horizon at the Kunstmuseum Bonn (2016) and Musée des Beaux-Arts de Rennes (2017); Abyss, a permanent installation for the MONA in Hobart, Tasmania (2017); the major retrospective Vous êtes ici. Thomas Huber est au Mamco, at Mamco, Geneva, in 2012; and La langueur des losanges at Carré d’Art, Nîmes, in 2008. In 1988, the Centre Pompidou hosted his show 7 lieux. Winner of the Meret Oppenheim Prize in 2013, he is represented, among others, by the Skopia gallery in Geneva and Louis Carré & Cie in Paris. His bibliography is currently approaching 50 books.

Vanessa Billy: Dear Life
January 21–February 27, 2017

Vanessa Billy: Dear Life
The works brought together in this exhibition, made mainly using recuperated junk, form an environment that suggests “dirty” liquids of one kind of other: an engine slowly leaking oil, a baby on a “sea” of waste, a net with fluids draining out of it. By getting bodies to interact with this environment, Dear Life evokes human life and its transformations, and questions the notion of life forms in a wider sense. This show by Vanessa Billy revisits what is a regular concern in her work: political ecology, doing so through the circulation and activation/deactivation of energies and resources.
Vanessa Billy (born 1978, lives in Zurich) studied at Cooper Union, New York and the Chelsea College of Arts, London. She has exhibited at the Kunsthalle Saint-Gall; BolteLang, Zurich (2016); c-o-m-p-o-s-i-t-e, Brussels; Limoncello, London (2015); Collective Gallery, Edinburgh (2014); Piano Nobile, Geneva (2013); and Kunsthaus Baselland, Muttenz (2011).
image photocredit;  Vanessa Billy;Dear Life, 2016 / Photo: Gunnar Meier
Sonia Kacem:Carcasse
March 4–April 2, 2017

Sonia Kacem: Carcasse
Structures in wood and metal delimit “a world” (as the term is understand in video games) that visitors are encouraged to explore. Carcasse is composed mainly by lines and empty spaces, humorously twisting the idea that the artist is expected to “fill” the space. Sonia Kacem plays games with our perception, shifting between abstraction and fiction. Her bare sculptures sport ambiguous, flesh-like colours and have human given names, like figures in a strange interior.
Sonia Kacem (born 1985, lives in Amsterdam) studied at HEAD in Geneva and is in residence at the Rijksakademie van Beeldende Kunsten, Amsterdam, in 2016–17. She exhibited at the Centre d’Art Contemporain, Geneva, and at Galerie Gregor Staiger, Zurich, in 2016; at the Kunsthalle Saint-Gall and the T293 gallery, Naples, in 2015; and at Mamco, Geneva, in 2014. In 2016 the AHEAD foundation published a monograph about her work, Sonia Kacem - KIC.

practical information
Centre culturel suisse Paris
32-38, rue des Francs-Bourgeois
F-75003 Paris
+33 (0)1 42 71 44 50

Duncan Campbell @ Wiels .Brussels

Duncan Campbell @ Wiels | Brussels
26.01 - 26.03.2017
Curator: Dirk Snauwaert
Opening: 25.01.2017 at 19:30

WIELS presents the first major exhibition in Belgium by Duncan Campbell (b. 1972). Irish-born, Glasgow-based artist Campbell is best known for his documentary films. He was the recipient of the 2014 Turner Prize, to which he contributed with his seminal film It for Others, originally made for the Scottish Pavilion at Venice Biennial (2013), and which is a central work of this exhibition.
Campbell uses archival material as a tool to research subjects, biographies and histories and to reflect upon the “truth” or factual evidence of information. By mixing archival footage and new material, he questions and challenges the documentary form.

short bio 
Duncan Campbell (born 1972) is an Irish video artist, based in Glasgow. He was the winner of the 2014 Turner Prize. Campbell was born in Dublin, and studied at the University of Ulster (BA, 1996) and the Glasgow School of Art (MFA, 1998). In 2008, he was awarded the Bâloise Prize. In 2013, Campbell was one of the three artists chosen to represent Scotland at the Venice Biennale. On 1 December 2014, it was announced that he had won the 2014 Turner Prize. Campbell took the prize for his video work "It for Others" – a work that reflects on African art and includes a dance sequence inspired by Karl Marx.

Image: Duncan Campbell, It for Others, 2013. Courtesy the artist, LUX and Rodeo Gallery, London


Sven ’t Jolle At WIELS, Brussels

Sven 't Jolle || The Age of Entitlement, or Affordable Tooth Extraction
13.01 - 19.03.2017
Curator: Zoë Gray
12.01.2017, 19:00
Vernissage / Opening & Conversation / Gesprek
Sven ’t Jolle & Zoë Gray, curator (EN)
WIELS presents the largest solo presentation to date of Belgian artist Sven 't Jolle. ‘t Jolle’s work is a humorous and impassioned critique of capitalism. Presenting his sculptures, installations and works on paper, this exhibition at WIELS offers a generous overview of his recent practice. It reveals how he fuses together historical references and citations from everyday life to create new and eloquent constellations of images, forms and ideas. His work explores the values of contemporary society, addressing with understated humour its inequalities.
The title for this exhibition is taken from a 2012 speech by the former Australian treasurer Joe Hockey. Decrying the welfare state as unsustainable, Hockey proclaimed: “The Age of Entitlement is over.” ‘t Jolle approaches the phrase both critically and generously, using it to explore the question of entitlement more broadly. Who is entitled to what? Who decides upon this entitlement? The pun upon the Age of Enlightenment is far from accidental. The Enlightenment was the dominant philosophical movement of the eighteenth century in Europe, founded on ideals of reason, tolerance and liberty. Today, while the same words are often applied to the neo-liberal society in which we live, their meaning – or our understanding of them – has changed dramatically, as ‘t Jolle underscores in his work. By giving the exhibition a second, or alternative title – Affordable Tooth Extraction – ‘t Jolle undercuts any pompousness with an absurd verbal juxtaposition that nevertheless refers to the dismantling of the welfare state and public healthcare.

WIELS, Contemporary Art Centre || Avenue Van Volxemlaan 354 || 1190 Brussels ||T +32 (0)2 340 00 53

Arteles Creative Residency Finland| Open call

Arteles Creative Residency Program Summer/Fall 2017|  Hämeenkyrö, Finland
Deadline: 12th of January 2017

Read more & apply online: www.arteles.org
Visual Arts | Photography | New Media
Sound Art | Music | Performing Arts
Design | Literature | Research | Philosophy
Freedom for Creativity
Arteles Creative Residency Program allows you the time, space, facilities and - most of all - the freedom and stress-free environment you need in order to develop yourself and your work, in the middle of the extraordinary nature of Hämeenkyrö, Finland. Wide selection of creative equipment & gear available for you to use.
Arteles / Arteles Creative Center
tel. +358 341 023 787
Hahmajärventie 26
38490 Haukijärvi


Deadline: Jan 12, 2017

Topic: Precarity in Art | Dates: April 1- 30, 2017
Location: Budapest (Hungary) and Zagreb (Croatia)

The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary)
and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.
The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has
endured a severe shift in cultural policies since 2011, resulting in the desertification of
the contemporary art scene and generating new artistic reflexes, independent and
alternative ways to operate. Croatia is presently undergoing the same kind of
restructuration, foreshadowing an oppressing cultural political climate and situation for
the years to come and already witnessing the unprecedented solidarity of the art scenes
in a need to act.
The residency lasts one month and is divided in two time blocks,the first one in Budapest
(Hungary) between April 3- 15 and the second one in Zagreb between April 17- 30. The
purpose of this residency program is to engage with the thematic of Precarity in Art by
connecting international curators with those protagonists of the Hungarian and Croatian
cultural scenes who were/are working with minimal financial, spatial or temporal
resources, and to map the answers they give to such situation.
The program in each country is articulated around three main pivots: a general overview
of the contemporary art scenes of both countries, a focus on the institutions,
self- -organized structures and art professionals dealing with or functioning in precarity,
and finally a personally tailored part shaped according to each participant’s points of
Participation fee: 1.000 EUROS
The fee includes the use of office facilities, entry fees of museums and special events,
public transport in Budapest and Zagreb, inland transport for provincial venues, transport
between Budapest and Zagreb. The fee also covers the production costs or a final
publication realized on the topic of the residency program.
Travel to Budapest for the start of the program and back at the end of the program, as
well as accommodation expenses are NOT included.
Please send a letter of intent and cv
to: easttopics@gmail.com Application deadline: Jan 12, 2017.
Selection process: Jan 19, 2017.
For additional information, please contact us at: easttopics@gmail.com
www.easttopics.com I www.g-mk.hr

Frieze Artist Award 2017 | Open Call

Frieze Artist Award 2017
Deadline:10 February, 2017
The Award is supported by the LUMA Foundation

The Frieze Artist Award is an international, open call for an artist 25–40 years of age to realize a major site-specific work at Frieze London 2017. The chosen proposal will be presented as part of Frieze Projects, the fair’s celebrated non-profit programme established in 2003 and curated by Raphael Gygax. Frieze Projects and the Frieze Artist Award are supported by the LUMA Foundation.
Proposals will be reviewed by a selection panel including Cory Arcangel (artist), Eva Birkenstock (Director, Kunstverein für die Rheinlande and Westfalen, Düsseldorf), Tom Eccles (Executive Director of the Center for Curatorial Studies, Bard College, New York) and Raphael Gygax (Curator, Frieze Projects & Migros Museum für Gegenwartskunst, Zurich), chaired by Jo Stella-Sawicka (Artistic Director, Frieze fairs). The closing date for applications is February 10, 2017 at 5pm GMT; and the winner will be announced in the spring of 2017.
Proposals should be new, site-specific works, which respond to the dynamics of the London fair. Applicants will be judged on the innovative nature of their idea and its potential for realisation. Produced under the guidance of Curator Raphael Gygax and the Frieze Projects team, the Award will include a budget of up to 20,000 GBP for production, research and development, artist fees and travel expenses.
The 2016 Frieze Artist Award was given to Yuri Pattison, who installed a networked artwork throughout Frieze London, exploring "trending" data and systems of interpretation or control. In 2015, New York-based artist Rachel Rose, created a scale-model of the fair structure, in which lighting and sound design simulated the sonic and visual sense frequencies of animals inhabiting The Regent’s Park. In 2014, the inaugural winner of the Frieze Artist Award, Mélanie Matranga’s project explored economic and emotional exchange in a series of online videos and an on-site café-installation at Frieze London.
Now in its fourth year, the Frieze Artist Award sits within a rich history of artist awards presented at Frieze London, including the Emdash Award (2011–13) and the Cartier Award (2006–10), which have made possible ambitious new commissions by artists including Cécile B. Evans (2013), Simon Fujiwara (2010), Jordan Wolfson (2009) and Mario García Torres (2007). Explore previous projects here.
Full details on how to apply for the Frieze Artist Award 2017 are available at: frieze.com.
Taking place October 5–8, 2017, Frieze London is sponsored by Deutsche Bank for the 14th consecutive year.
For further information and how to apply, please visit frieze.com.
sors: e-flux.com

Amsterdam Light Festival | Open Call

Call for concepts 2017–2018

Deadline Round 1 (curatorial selection) :  31January  2017, 11am CET
Amsterdam Light Festival is an annual light art festival in the Netherlands that presents the rapidly developing concept of light art in all its forms. After five successful editions, the festival will return to Amsterdam’s city center for the 2017–18 edition. From artists to designers, engineers to architects, and professionals to students, the festival invites creators from around the world to submit their creative interpretations of the theme EXISTENTIAL. Amsterdam’s world-renowned canals and various waterfronts offer visitors a unique way to experience multidisciplinary light artworks.
Amsterdam Light Festival presents two exhibitions, following two routes in Amsterdam’s city center, each with its own unique interpretation of the festival’s theme.
Water Colors boat route
Amsterdam Light Festival champions artworks that connect the essential elements of light and people’s EXISTENTIAL needs and dreams, making people more aware of their existential being. For the Water Colors boat route, we are looking for monumental proposals on, above or in the water that connect with the city, its inhabitants, and its visitors.
Illuminade walking route
For the Illuminade walking route, we hope to see beautiful interpretations and installations that bring the EXISTENTIAL qualities of light back to the basics and provide a stage for natural miracles and occurrences. We are looking for artworks that you can touch, walk through, connect with and react to.
Deadlines & schedule 2017
Tuesday, January 31 (11am CET)
Deadline submission round 1—curatorial selection. Late entries are not accepted.
Friday, February 17
Notification whether the curatorial team has selected your submission for round 2 and presentation to the jury.
Friday, March 17, 2017 (11am CET)
Deadline submission round 2—jury selection.
Tuesday, April 4
Announcement of approximately 30 artists selected by the international jury members.
Tuesday, April 18–Friday, April 21
The artists who are selected by the jury visit Amsterdam for the kickoff meeting and site visit (2 days). These dates are subject to change.

Application form  on www.amsterdamlightfestival.com/cfc to request the artist briefing. 

More info >> cfc@amsterdamlightfestival.com

Amsterdam Light Festival
Rapenburgerstraat 123
1011 VL Amsterdam
The Netherlands


Mare Nostrum by Paolo Vivian at [Box] Videoart Project Space , Milano

Mare Nostrum || Paolo Vivian 
[.BOX] Video Art Project Space || Milan. Italy
runs until 18th december 2016

curated by Dora Bulart
[.BOX] Video Art Project Space
11 F. Confalonieri 11 st || 20124 Milano
Mare Nostrum by Paolo Vivian is a video impression and symbolist poetry, dedicated to the inner journey in search of the boundaries of hope. the sea as a symbol of a rich inner life. The world of shadows and dreams. Impalpable. Floating. Overwhelming. The Sea - slight, quiet, sensual, fragile, infatuated, timeless, irresistible. How it is the love. The black sea - cold, dangerous. The occult sea that it hides the memories of the trips after the hope for a meaningful life. The mare nostrum - constantly moving and constantly changing. The sea of ​​fear of pains. The sea of ​​power and ecstasy.  The work of  Vivian is the silent conversation of future memories and boundaries within us. The artist has used a banal object of everyday life and  he has created an unreal world of hypnotic beauty and spiritual metamorphosis. With the transmutation of forms with color spillover - those of the spirit and those of the passion, Vivian draws a thin borderline between life and death, between Heaven and Earth. The cubes of photographic installation shown in its memory are used by the artist for its symbolic games where the primary elements of the sea become as the tools for discovery of the secrets of the cosmos essence and inner awakening.
Dora Bulart, the project curator

Paolo VIVIAN (1962.Serso Pergine (Trento, Italy ) works into the field of collective memory through the languages ​​of sculpture, installation, photography and performance. His art have been presented in the program of Vilnius - European Capital of Culture 2009, on the occasion of the celebrations the 100th anniversary of the founding of the city of Differdange, Luxembourg; "heroes Corner ", Műcsarnok (Kunsthalle), Budapest; "Art & Nature" international project in Drenthe, under the auspices of the Dutch Queen, "Off-On" sculpture project , Hamburg; "Exi [s] t", Bulart gallery, Varna; "Shape Shifters", an international project by Raul Zamudio (USA); Museum of the Porziuncola, Assisi, Abbey of Neustift, Varna (Bolzano, Italy); "Mythology of Wood ", Castel Ivano Castle,  Borgo Valsugana (Trento, Italy ); Gallery" Actus Magnus ", Vilnius; Palazzo Ducale, Genoa, Italy ; Contempo - the International contemporary art festival, Varna, Bulgaria. He has more than 17 solo exhibitions in Italy , Bulgaria and Lithuania. He has won many international awards in Italy and abroad. His monumental sculptures are part of public collections in the Netherlands, Luxembourg, Italy, Germany, Poland, Austria, France, Bulgaria. It is presented by Bulart gallery (Bulgaria / Belgium). He lives and works in Palù (Trentino, Italy).

- = - = -

Contemporist  is a c/o project presentation born in the result of the partnership between CONTEMPO – the international contemporary art festival  held in Varna Bulgaria since 2009 and VisualContainer – the most important Italian videoart distribution platform.  
[.BOX] Videoart project space is a project of Visualcontainer Italian Videoart Platform

[.BOX] Video Art Project Space
11 F. Confalonieri 11 st || 20124 Milano


ARCOlisboa 2017| Open call

ARCOlisboa 2017
Dates : 18–21 May 2017
Deadline for applications: 10 -01-2017

ARCO and IFEMA are pleased to announce the launching of ARCOlisboa's second edition. The outstanding reception of the first edition is the driving force behind this project. Following the opinions of the galleries, artists, collectors and the local scene, the Fair will subtly grow, adapting to the Cordoaria Nacional iconic building.
Quality of contents is ARCOlisboa 2017's main objective. The Fair aims at becoming a major artistic and social event in the Portuguese capital between May 18 and 21. In this edition, the General Program will host about 50 galleries selected by the Organizing Committee after the analysis of all submitted projects. The quality of the projects of the participating galleries and the city's own cultural activity will be the key attractions to lure international collectors, well-known professionals and the general public.
Lisbon is becoming a favorite destination for interesting gallery projects from different parts of the world who have decided to open there their main headquarters or a second branch. The confirmation of this fact has led to the new Opening section in ARCOlisboa; a program that will count with the participation of around ten national and international galleries that are under seven years old and that will be selected by João Laia, a Portuguese writer and curator, currently based in London.
The world of art will again look at Lisbon, a city that has thrown itself into contemporary art. Together with this enthusiasm, we have the support from institutions, galleries and collectors to the Fair through varied exhibitions and events that create opportunities to meet with ARCOlisboa's participants and guests.
Moreover, all this will take place during a specially dynamic moment in the country's art scene thanks to the new space in the Museu de Arte, Arquitetura e Tecnologia (MAAT) by the Fundação EDP, new galleries and non profit spaces, and the appointment of Lisbon as 2017 Ibero-American Capital of Culture 2017. On this occasion, ARCOlisboa will host meetings and activities linked with Latin America that will gather outstanding professionals of the art world, like for instance the Meeting of European and Latin-American Museums, among others.

Cordoaria Nacional
Avda. da India, s/n


KÖLNER LISTE 2017 | Open call

Fair dates are 28 – 30 April 2017 | deadline for applications : 31 January 2017
As the sole satellite art fair to Art Cologne, the fair presents a broad range of international contemporary art at affordable prices. KÖLNER LISTE will be held at the historical XPOST, a former post office building in downtown Cologne. A shuttle service between the two fairs will be available throughout the duration of the fair. Applications  are open until January 31st. Galleries, project groups and artists are cordially invited to apply. The application is free of charge. Having captured the continuing and growing interest of the public over the last years, we will be expecting over 100 national and international exhibitors and more than 10,000 visitors.
The fair's principal curatorial position is focused at facilitating a direct dialogue between young collectors and art lovers and a diverse range of international artists, while bringing contemporary art closer to not only the more traditional audience of Art Cologne but also to new target groups. In that scope, KÖLNER LISTE will be assisting young collectors by offering special lectures and guided tours.
more information about the sections of the fair >>>
If you would like to join KÖLNER LISTE 2017 by presenting your program please apply here.

Pichler | Radical: Architecture & Prototypes @ Salzburg

Pichler | Radical: Architecture & Prototypes
26 November 2016 – 5 March 2017
Museum der Moderne Salzburg

Curators: Sabine Breitwieser, Christina Penetsdorfer

The Museum der Moderne Salzburg proudly presents a grand retrospective surveying the work of Walter Pichler spanning five decades. Crossing the boundaries between architecture, design, and sculpture, Pichler was one of the most idiosyncratic artists of his time. From his early architectural visions across the series of Prototypes to his recently realized building projects, the exhibition shines a spotlight on an oeuvre that continues to inspire artists working today. The presentation includes a wealth of previously unpublished material.
A native of South Tyrol, the Austrian artist Walter Pichler (1936, Deutschnofen, Italy–2012, Vienna, Austria) first drew notice in the early 1960s with architectural designs and models that were as radical as they were utopian. The series of what he called "Prototypes" (1966–69) Pichler developed over the following years laid the foundation for an international artistic career that was virtually unparalleled at the time. Trained as a graphic designer, Pichler worked in sculpture and design, pushing the boundaries between these disciplines and architecture. At a relatively young age, he had work showcased in celebrated exhibitions and renowned museums: at the Museum of Modern Art in New York (1967 and 1975), the 5th Biennial in Paris (1967), the 4th Documenta in Kassel (1968), and the Austrian pavilion at the 40th Venice Biennale (1982). As his international reputation rose rapidly, Pichler, in 1972, retreated to a farm in St. Martin, a village in the Austrian state of Burgenland, where he worked in isolation from the art world to realize his vision of the ideal structures to house his sculptures. Still, he was regularly prevailed upon to present his work in museum exhibitions, submitting his art to the scrutiny of these institutions and its audiences. Beginning in the late 1980s, Pichler’s work was shown in a series of major retrospectives, for instance at the Städel Museum in Frankfurt am Main (1987), the Austrian Museum for Applied Arts (1988 and 2011) and the Generali Foundation in Vienna (1998), or at the Stedelijk Museum in Amsterdam (1998). Walter Pichler died in Vienna in 2012 and the exhibition coincides with his eightieth birthday.
The comprehensive retrospective the Museum der Moderne Salzburg dedicates to this influential artist proposes a new perspective on his early radical architectural designs and the iconic "Prototypes" series, which are considered here in conjunction with his design projects and realized buildings, including recent projects. Around 230 works, including a wealth of previously unpublished material, on display in the spacious galleries on level [4] of the Museum der Moderne Salzburg’s Mönchsberg venue illustrate the extraordinary range of the artist’s oeuvre. “Our longstanding close relationship with Walter Pichler—we worked together on several projects—and now with the Pichler Archive, and thanks to the permanent loan of the Generali Foundation Collection, which has the single largest collection of 'Prototypes,' to the Museum der Moderne Salzburg enable us to draw from a wealth of resources for this retrospective, which also presents previously unpublished materials to the public,” Sabine Breitwieser, director of the museum and curator of the exhibition, underscores. “The exhibition is further enhanced by important works on loan from the artist’s estate and numerous other collections and offers visitors vivid impressions of Pichler’s buildings through films we commissioned specifically for this purpose,” the curator emphasizes.

more>>>  http://www.museumdermoderne.at/

empty pr(oe)mises | Greece | open call

empty pr(oe)mises | Greece | open call
deadline:  1 December , 2016 

EMST (The National Museum of Contemporary Art, Athens), in collaboration with the Museum of Contemporary Cuts, Leonardo Electronic Almanac (MIT Press) and with Arts Administration @ Boston University launches a call for artworks open to international artists on the theme of empty pr(œ)mises.
empty pr(œ)mises, conceived and curated by Lanfranco Aceti and Katerina Koskina, will focus on the intertwining of the words promises and premises.
How does one inhabit emptiness? For this project artists are invited to visualize and localize within the space of the National Museum of Contemporary Art, Athens (EMST) the struggle between the promises of future ideas and the processes of their realizations in the empty premises which should host them.
The promises clash against the reality of the premises which oblige a re-evaluation of the idea itself, but also of our identity in relationship to the promises made. The infinite possibilities of realization embedded in the promises of a space and the restrictions of contemporary spatial and socio-political realities inherent to the premises entangle with the role that the virtual and physical premises play both as space and context. These multiple interconnections can either support or disrupt the potential fulfillment and manifestation of the functions of promises and premises.
In the complex entwining and conflicting negotiations of ideas, placemaking, materials and technologies as well as architectural and engineering structures, lies the artists and curators’ struggle in defining art spaces, processes, interventions and materializations. These are a reflection of socio-political and cultural phenomena that shed a light on the ontology of an aesthetic that is both of being and becoming.
The artworks, as projects in fieri (in development), because of their very nature of proposals – similarly to architectural projects – will define and shape the emptiness of the space of the EMST, bringing to light the infinite arrays of creative and aesthetic possibilities.
These aesthetic propositions, contrary to architectural projects, will not remain at the stage of ideas but will be collected in a publication by the Leonardo Electronic Almanac – MIT Press.  In this publication each artist’s proposed artworks can be displayed over ten pages, or ‘spaces’, with images in full colour. The collection thus created with multiple proposals will embody the role that the EMST could play in both the international and national contemporary art scenes.

The artists’ proposed images will also be displayed on the online space of the EMST and the Museum of Contemporary Cuts (MoCC) – creating a public archive of ideas. Each image will also be disseminated via social media. The existence of these proposals for the empty premises of the EMST holds the promise of their possible realization in the physical space of the museum. In this time of blended spaces and activities which transition publicly between the conceptual space, the virtual display and the physical realization – not necessarily in a pre-established and orderly fashion – the physical embodiment of an artwork is not strictly linked to its original location. The realm of possibilities are embedded in the premise (intended here as a conceptual assertion) of the artwork and these are increasingly unbound from the restrictions of the social-political realities that characterize the locus in which the project originated.
For their proposals we ask that artists consider all of the above, with special consideration to the context of this project rooted in the long awaited building of the EMST (National Museum of Contemporary Art, Athens) which was built to host an important international collection of contemporary art. The impact of the financial crisis has left a new and completed empty building, at the very centre of modern-day Athens, suspended and awaiting the realization of its function: trapped in between promises and premises, realities and virtualities, local and international expectations.
Application Details
To be considered for this project please provide the following:
>>> Phase 1 – Deadline by December 01, 2016
1) Expression of interest which should include your contact details, mobile number and email address. At this stage you can state via email that you are committed in making a submission. Please send your email to the following address: emptyproemises.emst@gmail.com by December 01, 2016.
>>>> Phase 2 – Deadline by March 01, 2017 

For the catalog proposal please submit a project for the EMST space – description, details and restrictions are attached. Even if there are restrictions to the physical space – as in all projects – we ask artists to envisage as a daring project as possible in total freedom: every medium and every practice are acceptable (including but not limited to: Internet art, conceptual art, performance, sculpture, painting, installation, etc.). We would like to receive innovative, daring and audacious usages of the space that challenge traditional perceptions of aesthetics and roles of contemporary art museums. For your proposal to be considered, please provide the following:
>>>> Minimum 10 to maximum 15 images at high resolution for print publication. Measurements for the high resolution images’ dimensions for publication are as follows: A single full page image should be at least 18,5 cm (width) x 26 cm (height) and must be at 300 dpi minimum, .TIFF preferred (otherwise .JPG). A double spread (an image on two adjacent pages) should be at least 36,2 cm (width) x 26 cm (height) and must be 300 dpi minimum. All images should be named as follows: Number_FirstName_LastName_Print, e.g. 01_John_Smith_Print
>>>>>All images and documentation should be provided with a Dropbox link. The Dropbox folder containing all the submission materials should be named as follow: FirstName_LastName_EMSTep e.g. John_Smith_EMSTep
>>>>>The link should be emailed to emptyproemises.emst@gmail.com with the subject of the email: EMSTep – FirstName – LastName, e.g. EMSTep – John – Smith
>>>>>There should also be a Word document .doc or .docx (no other documents will be accepted) with the following information in the given order 1) First Name and Last Name 2) Postal Address 3) Email 4) Phone Numbers (a landline and a mobile number) 5) Biography (500 words) 6)  Artist Statement (500 words).
>>>>>In a second .doc or .docx Word document named FirstName_LastName_Captions, e.g. John_Smith_Captions.doc there should be all the captions. Caption should be numbered in sequential order from 01 to 15 and their numbers should correspond to the numbers in the images filenames in order to avoid errors. Captions should follow this convention: Artist’s First Name and Last Name, Work Title (in italics), Year of Production. Medium or Media.
>> For the display of images on the EMST website, on Leonardo Electronic Almanac (MIT Press) and the Museum of Contemporary Cuts we will need:
>>>>>>Minimum 15 to maximum 30 images and videos. Images sizes are as follows: 2000px wide at 1200px high suitable for web (72dpi).
>>>>>>>All web images should be named as follows: Number_FirstName_LastName_Web e.g. 01_John_Smith_Web
>>>>>>>>In a .doc or .docx word document named FirstName_LastName_Captions_Web, e.g. 01_John_Smith_Captions_Web.doc there should be all the captions for the web images. Caption should be numbered in sequential order from 01 to 30 and their numbers should correspond to the numbers in the images filenames in order to avoid errors. Captions should follow this convention: Artist’s First Name and Last Name, Work Title (in italics), Year of Production. Medium or Media.
>> For copyright release please sign copyright agreement for publication, online distribution and exhibition.
Curatorial Statement
Application Package, PDF
Ground Plan, PDF
Publication Agreement Form, PDF
Image Release Form, PDF

 more >>>  museumofcontemporarycuts.org

Nairy Baghramian @ S.M.A.K | Gent | Belgium

Nairy Baghramian | Déformation Professionelle

curator, Martin Germann
duration  26.11. 2016 - 19.02.2017
S.M.A.K | Gent | Belgium
Baghramian (b.1971 in Isfahan, Iran; lives and works in Berlin) explores and reflects on the formal languages of both modernism and post-minimalism. The sculptor has become internationally known for making exhibitions by means of sculpture and site-responsive installations that play on the human body and its gestures, which are both revealing and dissembling. Her work marks boundaries, transitions and gaps in the museum and urban space, whereby she focuses on the relationship between body and building and refers to fashion and design, theatre and dance.
Using material such as curved steel sheets and soft rubber, geometric frameworks and hybrid objects, mirrors, plastics, waxes and fabrics, as well as cast and combined materials, Baghramian scrutinizes the paradigms of the sculptural. In doing so, she challenges the spaces where she exhibits, within the area of spatial tension that is inseparably linked to her artistic production.
Déformation Professionnelle comprises a series of new sculptures and installations that build on the key works in Baghramian’s oeuvre over the last fifteen years. For this purpose she has reinterpreted not only the works themselves, but also the tools and other work materials that she used in making the artworks. In this exhibition, Baghramian in this sense criticises, emphasises and stretches the concept of the ‘retrospective’. Through her playful take on the retrospective view, she unpacks and interrogates the conceptual, economic, physical and social aspects of sculpture.
Taking its title from a French phrase that indicates an adjustment to one’s worldview that results from being overly specialized or an expert, Déformation Professionnelle also speaks of analysing one’s profession or métier: in this case the artist’s method.

Nairy Baghramian | Déformation Professionnelle is co-organized by S.M.A.K., Ghent, Museum der Moderne Salzburg, Salzburg, and Walker Art Center, Minneapolis.
The exhibition will be accompanied by the publication of the first comprehensive monograph on the artist’s work, published by S.M.A.K. (Ghent), Museum der Moderne Salzburg (Salzburg) and Walker Art Center (Minneapolis). The publication will be released in the course of the exhibition tour.
Exhibition Tour
The exhibition will travel to Museum der Moderne, Salzburg, in March 2017, and to the Walker Art Center, Minneapolis, in October 2017.

S.M.A. K.
Museum of Contemporary Art
Jan Hoetplein 1,
9000 Gent | Belgium


Marie-Laure Fleisch Gallery opens new space in Brussels

Marie-Laure Fleisch Gallery opens new space in Brussels 
Santiago Reyes Villaveces | Reside
curated by  Eugenio Viola 
20 April - 28 May 2016
13 Rue Saint Georges | 1050 Brussels

 The Galerie MLF | Marie-Laure Fleisch inaugurated its new space in Ixelles, the contemporary art district of Brussels par excellence. The opening show is the site-specific project of Santiago Reyes Villaveces Reside.it is as a part of Art Brussels’Gallery Night.
Next to its complex polysemy linked to its figurative use, the verb to reside (from the Latin residēre) also indicates the legal and administrative choice of a particular residence in a specific place; or more generally, it denotes the choice of a fixed abode, or a place where one sojourns for a more or less stable period. This last meaning of the verb to reside expresses the modus operandi of Santiago Reyes Villaveces to create this exhibition: both his sojourn in the Belgian capital and the specificity of the exhibition space determined the conceptual parameters of his work.
The research of Reyes Villaveces confronts itself with the Brazilian Neo-Concrete tradition and the Tropicália Movement, in specific the work of Hélio Oiticica and Lygia Clark, and the poetics of the fragment inspired by Jorge Luis Borges. From the former, he derives a sense of transitivity and precariousness of the work; from the latter, a concept of the fragment as a representation of an aesthetics of ruins, interpreted in a non-romantic sense.
The artist’s preferred medium is sculpture, of which he explores its various possibilities, analysing different categories and the physical structures of materials. Therefore, his work tends towards a reciprocal system, in which the relation between materials, their form and collocation in space are destitute from any hierarchical organisation. Its plastic vocabulary creates a minimalist language, expressed in what the Colombian artist defines as an “immanent/silent architectural sensibility”, traced from the precarious structures that form the daily routine of cities he lived and worked: Bogotá first and foremost, and in this specific case, Brussels.
Cities can be considered as never-ending building sites swarming with objects that express a relentless tension between their residual and structural state. These objects lie at the heart of the artist’s practice, making objets trouvées the primary materials of his work. In his process of creation, they play a transitory function: residues or fragments of former constructions and a wide range of materials intelligently assembled, rendered un-functional and simultaneously raised to the level of art work, are used to study the expressive and formal possibilities of objects, and their interaction with space and light.
Reyes Villaveces's work stretches the physical limits of matter, challenging the concepts of scale, volume, weight, tension, gravity, surface, resistance, pressure, limits, perspective and depth. His sculptures are represented as singular and visually forceful instruments originating from a short circuit between matter and surface, from mass and structure, expressed both as the synthesis of form and proportion that each single work takes on in respect to the rest. In this way, a few simple elements, sharply positioned in the exhibition space, question the sense of perception, and as such activate a relation between the architecture of the exhibition space, the viewer’s perception, and the temporal element of the viewing experience.

Marie-Laure Fleisch Gallery
3 Rue Saint Georges | 1050 Brussels
more at  http://www.galleriamlf.com

* photocredit of images : Art News Bulletin