CONVOCATORIA 2013 - 2014- EAC !

 
CONVOCATORIA 2013 - 2014

Comunicamos que está abierta la 4ª convocatoria para la postulación de proyectos artísticos a llevarse a cabo en el Espacio de Arte Contemporáneo a partir de su doceava temporada y hasta la decimoquinta inclusive (Agosto 2013_Mayo 2014).BASES EN
http://www.cultura.mec.gub.uy/innovaportal/file/30423/1/bases_convocatoria_temporada_eac.pdf


RECEPCIÓN DE PROYECTOS
8 y 9 de Abril 2013 en las instalaciones del EAC.
CONSULTAS
convocatorias@eac.gub.uy


www.eac.gub.uy

Videobrasil

Videobrasil Residency Network
wraps up 17th Festival schedule

Artists in residence: Adriano Costa,
Gabriel Mascaro, Natasha Mendonca
and Moran Shavit
INfo:
site.videobrasil.org.br

Research programmes at the Royal College of Art School of Fine Art

Royal College of Art
School of Fine Art Research

Royal College of Art
School of Fine Art
20 Howie Street, London SW11 4A

www.rca.ac.uk

Situated within the Royal College of Art, one of the world's most influential universities of art and design, the School of Fine Art offers MPhil and PhD by project and thesis. Research degrees are aimed at emerging artists with an active artistic practice since graduation. It offers the opportunity to develop, realise and present a defined body of research within the context of contemporary critical discourses on art.

A range of distinct disciplines provides a foundation for a critical reflection on contemporary art and related fields. This includes Painting, Photography, Sculpture, Printmaking, Critical Spatial Practice, Moving Image and Performance. The Fine Art Research Programme (FARP) convenes weekly and brings together a vibrant community of artists and thinkers. Key areas of inquiry include: The Image and Language Research, Art and Social Change, Art and the Process of Making, Art and Knowledge Production, and a newly-established research cluster on Performance and its History between the School of Humanities and School of Fine Art along with various partners.

As a Fine Art research student you will be part of the School of Fine Art. You will also have access to all schools' facilities, shared events and courses as well as to other programmes by request. Each student follows their own programme of research developed in their proposal under the guidance of an assigned supervisor who will be a member of the regular Fine Art faculty. RCA research students are expected to produce a coherent and original body of work combining reflexive artistic practice with conceptual rigour.

Your research will be self-motivated and independent, enhanced by the following support:

regular tutorials with your supervisor
weekly FARP meetings and events during academic terms
weekly Research Methods Course throughout the first year of study along with all other RCA research students offering support in the development of a methodology and the opportunity to present research to art, design and humanities peers across the RCA
School of Fine Art public guest lectures from leading Fine Art practitioners and thinkers
access to academics and practitioners from across the disciplines of architecture, fashion, design, communication and humanities at the RCA
world-class facilities including editing and computing suites, a moving image studio, a full range of well equipped photography, printmaking and sculpture workshops, shared painting studio and—unique to the RCA—a foundry, all staffed by highly skilled technicians
training to access research resources across all museums, archives and libraries in London
financial assistance to support the attendance of conferences and for student-run research initiatives.
Upcoming FARP symposium "art, thinking, (non)philosophy" on February 28th. Guest speakers Ros Gray, Catherine Malabour, John Mallarky and Hito Steyerl will consider the question of division and non-division in the context of fine art research.

Video and Performance pioneer Joan Jonas, RCA Fine Art Leverhulme Trust Visiting Professor will be leading a FARP seminar on February 21st with Jonathan Lahey Dronsfield.

Recent visitors in the FARP research seminars include Alexander Garcia Duttman, Victor Burgin, Leslie Dick, Carol Mavor, Mary Kelly, Howard Caygill, Jean-Luc Nancy, Denise Riley, Esther Leslie, Adrian Rifkin, Nina Power, Michael Newman, Ahuvia Kahane and Briony Fer.

School of Fine Art
Dean: Professor Ute Meta Bauer
Head of Painting, Professor David Rayson
Head of Photography, Professor Olivier Richon
Head of Printmaking, Professor Jo Stockham
Head of Sculpture, Professor Apolonija Šušteršič
Fine Art Research Leader: Dr Patricia Lyons
Fine Art Senior Research Fellow: Professor Richard Wentworth
Research Tutors: Dr Margarita Gluzberg, Dr Ian Kiaer, Dr Yve Lomax, Dr Jasper-Joseph Lester, Dr Francette Pacteau, Tim O'Riley and Dr Michael Schwab

For further information on application, fees and available funding, please visit here and contact
fine-art-research@rca.ac.uk.

UK and EU applicants may be eligible to apply for AHRC scholarships.

UK, EU and overseas applicants may be eligible to apply for one of 10 new scholarships set up to mark the 175th anniversary of the RCA.

DIFUSIÓN: Beca Internacional. Dirección General de Relaciones y Cooperación.

 

CRAC, proyectos 2012.

 
"Sobre nuestras afecciones instituyentes basadas en el tiempo"

Hay momentos en los cuales repensar la práctica para su efectividad es indispensable. Hace poco nos llegó una pequeña gran reflexión sobre el momento que vivimos, donde la precariedad y vulnerabilidad se confrontan con aquello que nos hace sobrevivir y pensar en acciones diarias de coexistencia.
Aquella reflexión propone que hay proyectos que son iniciativas BASADAS EN EL TIEMPO. Nosotros las entendemos como aquellas que componen temporalidades disímiles, que no se ajustan a un modo específico de hacer, poseen un ritmo autónomo y un compás marcado por su propio devenir, sobre todo son aquellas que proponen detenerse en vez de acelerar.
Construir un proyecto basado en su propio tiempo de ejecución, sin responder a alguna agenda oficial si no que a la coyuntura social, política y cultural en la que está inmersa, permite accionar prácticas instituyentes fuera de un plazo marcado por la ansiedad capitalista.
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Queremos compartir el resultado de algunos de los proyectos que desarrollamos el 2012:
PEDAGOGÍAS COLECTIVAS Y REDES: A partir del taller desarrollado por Javier Rodrigo de Transductores, él escribió esta crónica donde explica algunas herramientas que utilizamos y construimos en esta experiencia
http://transductores.net/?q=es/content/pedagog%C3%AD-que-se-despliegan-cr%C3%B3nica-de-un-micro-taller-por-valpara%C3%ADso-28-y-29-de-septiembre
INTERACCIONES URBANO RURAL: Luego de las residencias desarrolladas en Argentina, Brasil y Colombia, desarrollamos en Valparaíso una instancia colectiva para la publicación de esta experiencia. Para ver y descargar visita: http://interaccionesurbanorural.org/
Socializamos un texto escrito por Carol Illanes sobre el trabajo de CRAC en el contexto chileno, publicado por la revista Arteycritica http://www.arteycritica.org/ensayos/de-los-senderos-que-se-bifurcan-antimonumentalidad-e-institucion-artistica-en-la-ciudad-contemporanea/

Durante el 2013 continuaremos con nuestros proyectos de investigación desde MICR (el mirador critico de gentrificación urbana y cultural); el COLEGIO INVISIBLE (una comunidad sobre pedagogías y autoaprendizaje) y el DAP (Departamento de Arte y Política local, sobre arte e institucionalidad en Valparaíso). Estos proyectos se desarrollan en conjunto con las residencias de artistas, investigadores y activistas durante algunos meses del año.
Gracias a quienes nos han acompañado siempre y esperamos encontrar nuevas complicidades críticas para seguir pensando y haciendo juntxs!
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CRAC Valparaíso es una plataforma independiente de gestión autónoma fundada en 2007 en la ciudad de Valparaíso y que trabaja con una red de colaboradores en distintas ciudades, más información en www.cracvalparaiso.org

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has recibido este correo porque estás en nuestra base de datos con este correo electrónico alonso.craciun@gmail.com . Si no quieres recibir más información, puedes hacerlo enviando un correo a unsubscribe@cracvalparaiso.org

Posgrado Internacional, Especialización en entornos virtuales de aprendizaje.

Info: Dirección General de Relaciones y Cooperación

Posgrado internacional, Gestión y política en cultura y comunicación.

INfo: Dirección General de Relaciones y Cooperación

capacete-brasil.. convocatorias.

CAPACETE Entretenimentos

Rio de Janeiro - Rua do Russel nº 300, ap. 601, Glória, Rio de Janeiro / RJ. São Paulo - Av. Ipiranga, 200 – Bloco C – ap. 221, República, São Paulo / SP, Brasil.

http://www.capacete.net

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Typewriter

Project Description:

"Typewriter" is a program organized by CAPACETE Entretenimentos, which aims to stimulate the formation and curatorial production of young professionals and simultaneously contribute to public critical debate on contemporary art practices in Brasil and abroad. This initiative primarily establishes a study and working group to address curatorial practice emphasizing writing as a privileged mean for critical thinking. Between March and December 2013, 3 sessions will be held in the city of São Paulo, in different venues and cultural centers (CAPACETE, Goethe Institut, Casa do Povo). Each session will last 10 days, counting 6 hours of meeting per day. The group will be composed of a maximum of 10 professionals, between invited and selected guests (Brazilian and foreigners) as well as guest teachers. The program will also feature 2 free public presentations to share the work that will be developped and a 3rd final presentation. The material developed during the year, as well as two texts to be comissioned will become have assume a printed format and will be launched during the last public presentation.

The conceptual framework of the project essentially consists of three co-dependent lines of research:

- Establishment of a glossary of terms and concepts that will be determinated and worked with and by the group in order to establish a common field for discussion and collective constructions. Rather than creating an exhaustive and definitive dictionary of key terms, this glossary will serve as the basis for a rigorous exercise to operate criticaly while debating, as well as for the textual production of the group.

- Research in the constitution of discourses – the starting point and the origin, as well as the directions and destinies of discourse and narrative as methodology. What are the hidden structures present in the statement forms, grammatical structures, and pronouns? How language speaks and makes speak. What can happen if we operate a displacement of the narrative and instead talking and writing"about" we would do it "from" (something, an object, a place, a situation...); a change in the position of the object and the subject.

- Possible formats for curating visual art: publications, blogs, exhibitions, radio and presentations. formats and the possible devices for the production and presentation critique. One of the objectives of this research also concerns the elaborationt of the final presentation and the publication, which will be launched in December 2013.
The structure:

- Composition of the study and working group:
CAPACETE Entretenimentos will invite three young Brazilian comissaires and make an open call for applications to receive 3 selected professionals from Braazil, or living in the country for more than 2 years. 4 international members will be invited by CAPACETE and included in the group.

The tutors will be selected among international professionals that have a practice related to critical and experimental writing related to the field of visual art and will lead workshops and presentations for the group. Manuela Moscoso and Amilcar Packer will follow and coordinate the program, the presentatios and workshops, as well as the publication.

The activities to be supported by this project are basically divided into two types: the study group meetings and the public presentations. The program is completely free to participants.

Public presentations:

Public presentations will be designed as a restitution of the work realized by the members of the study group, submitting the material to a wider public critical discussion.

- First public presentation - introduction to the conceptual framework of the project and presentation of the initiatives of the group members.

- Second presentation - presentation of the work developed during the previous meetings.

- Third presentation - final restitution of the project and launch of the publication.

All presentations will be public and free, and will take place in different spaces and cultural centers in the city of São Paulo (CAPACETE residence, Casa do Povo, Goethe Institute).

- Publication:
The publication will not only consist of a restitution of the program but will also be developed as a format for a curatorial display and device. It will be composed of two comissioned texts as well as texts produced by the group, the lexicon research, and interviews made by the group to some of the tutors of the program.

Master in Fine Arts at Umeå Academy of Fine Arts: call for applications

Beautifully located on the banks of the Umeälven river in Umeå, a university town and center of trade activities, Umeå Academy of Fine Arts is the northernmost of all five Swedish Art Academies. Within the evolving Arts Campus, and together with the School of Architecture, Institute of Design, HUMlab, and BildMuseet, our school is part of a new creative focal point in the north.

Program
Umeå Academy of Fine Arts offers an English-taught, two-year Master program in an intimate environment, with international connections through its renowned faculty. Critical discourse on artistic practice and an emphasis on analysis and self-reflection contribute to an understanding of contemporary art located within a larger cultural, social and political context. Guest artists from abroad support the faculty in engaging students in contemporary creative initiatives worldwide.

The program comprises of supervised independent individual projects, lectures, seminars, master classes and field research. Well-equipped workshops for photo, video, sound and other computer-based work, as well as for wood, metal, plaster, bronze, printmaking, etc., are open to all students. Each student is provided a studio space, and all teachers at the school are available as supervisors. Umeå Academy of Fine Arts engages also in individual modular programs, where times of intensive presence can interchange with research abroad.

Over the 2-year curriculum, the MFA program includes many opportunities to discuss the artist's practice: Graduate students are encouraged to develop a solo show in our gallery that is part of the Arts Campus. At the end of the MFA program, all students work towards a final group show in close cooperation with a professional curator, including an extensive catalogue, and installed in the internationally renowned Umeå Bildmuseet.

Faculty
The Umeå Academy of Fine Arts faculty is a team of renowned instructors with active, international careers and a strong interest in cross-disciplinary debate, research, and modes of production. Faculty includes Roland Spolander, Per Nilsson, Swetlana Heger, Rasmus Nielsen of SUPERFLEX, Florian Zeyfang, Carin Ellberg, Magnus Wallin, Ann Edholm, Julia Peirone, Erla Haraldsdottir and Micael Norberg.

Our program of visiting faculty and guests included Sabeth Buchmann, Martha Wilson, Jan Verwoert, Chto Delat, Miklós Erhardt, Johanna Billing, Maria Lind, the Center for Land Use Interpretation, John Akomfrah, Emily Roysdon, Alejandra Salinas & Aeron Bergman, Dominic Eichler, Martin Ebner, Sven-Olof Wallenstein, Walid Raad, Judith Hopf, Anselm Franke, Kayle Brandon, Lars Mathisen, Ariane Müller, Adnan Yildiz, Mara Lee Gerdén, Niklas Goldbach, Melati Suryodarmo, Florian Wüst, Francois Bucher, Ian White, Zineb Sedira, and many more.

Exchange
Umeå Art Academy is involved in international exchange with the sixteen schools of the Nordic Fine Arts network KUNO, the Art Academy in Vienna, the Städelschule in Frankfurt, and others within the Erasmus system. As of 2013, our school runs project studio spaces in Berlin and Barcelona.

Tuition
Students from the EU member states pay no tuition.

Apply
Artists/students with diverse backgrounds interested in innovative artistic practice and research are encouraged to apply.

The web application is open 1 March–1 April.
Application closing date for Fall 2013 program is April 1.


For more information, eligibility requirements, etc., please see our web site: www.art.umu.se
or contact Jeanette Nilsson: T +46 90 786 6864 / jeanette.nilsson@art.umu.se

Master in Fine Arts: call for applications

Now accepting applications for fall entry 2013
Submission deadline: April 1, 2013

Academy of Fine Arts
Umeå University
SE-901 87 Umeå
Sweden
www.art.umu.se

Convocatoria CIA, Buenos Aires

cdf ...

Viviana Tagar en la Fundación Atchugarry

Miguel Battegazzore en la Fundación Atchugarry.

Pablo Atchugarry: Viaje a través de la Materia. En la Fundación Atchugarry

Pablo Atchugarry
Pablo Atchugarry: Viaje a través de la Materia.

Inauguración Sábado 5 de enero, 20 hs.
Salas I, II, III, IX.  

Esta exposición Viaje a través de la materia trata de mostrar cómo influyen en las obras el encuentro con los diferentes materiales, donde finalmente la naturaleza a través de la materia se vuelve protagonista.

Marcelo Legrand en el Kavlin, Punta del Este.

 
Marcelo Legrand. Pintura contemporánea.
11 de enero de 2013 a las 22:00 hs.
Sala: Sala Enrique Kavlin.
http://www.centroculturalkavlin.org

Nueva propuesta de Marcelo Legrand, siempre cambiante y siempre incambiado.
Un liberador de imágenes internas, irreverentes en su apasionada violencia. Desatar la forma para multiplicar la expresión: inspiración que dice una y otra vez en forma inconclusa, producto del hombre como ser cambiante. El conjunto de estas obras es la representación de su espíritu voraz, ávido de espacios, émulo de la naturaleza inventándose colores, sonidos, olores.
Pinturas de gran porte, lento proceso y renovada concreción. Las contundentes formas y dramáticos colores se arremolinan y compensan en equilibrio compositivo sobre un lienzo no coloreado. Como un engranaje cuyas piezas se responden encastrándose al moverse, Legrand despierta dinamismos haciendo estallar las composiciones mediante puntos de tensión disparadores y manteniendo sus fragmentos en estado de suspensión, como cuerpos ingrávidos en un espacio indefinible.
Los flotantes elementos se relacionan de forma tal que cada cuadro es una magna estructura giratoria, donde manchas, salpicaduras, chorreados, se integran a un torbellino de apariencia tridimensional por la ficción de planos y la temperatura del color. El gesto provoca la mancha, que escurre orgánica pero condicionada: el accidente inducido con violencia es sin embargo “una orgía silenciosa”, al decir de Baudelaire. Diálogo tácito de invocaciones y respuestas. La sensación de dinamismo generada en las formas móviles se estabiliza en la contemplación de masas de color que ofician como parapetos de contención, para volver a agitarse frenéticas como si el ojo no pudiera inmovilizarlas. Pintura de espasmos, palpitaciones, emociones reconcentradas, agitaciones provocadas por ráfagas de viento.
Un expresionismo feroz domeñado por recursos disimulados. Las manchas se plantean intervenidas albergando en su seno empastes, texturas y otros colores; los bordes rezumantes de matices acuosos se vierten unos en otros y se contornean de líneas oscuras a la manera de los fauvistas. Finos trazos elásticos tejidos como filamentos o conmovidos por una corriente eléctrica vinculan entre sí con sutileza las grandes masas cromáticas, confrontando la energía de las formas compactas para establecer la cohesión interna.
La obra pictórica de Legrand producida o comenzada con anterioridad al año 2008, dinámica como expresión de un estilo ineludible en toda su carrera - excepción hecha de sus estáticas cabezas (años 80´) - tiende por lo general a una mayor ortogonalidad en sus formas, al color más frío y restringido en su elección, así como a planteos de mayor saturación del plano bidimensional y a un tratamiento pictórico de los fondos, si bien no es una tendencia excluyente. Los cuadros recientes se presentan más aireados en el plano, destacando con más frecuencia colores cálidos y restallantes sobre planos naturales, pero puesto que las obras continúan sometidas a cambio a lo largo de tiempos más o menos prolongados, ocurre la convivencia de pinturas iniciadas en períodos distantes.
Sobrecogedor, pero capaz de provocar el deslumbramiento de un fuego de artificio o la intensidad de una emoción inexplicable por la lógica de la configuración, el uso de colores restallantes o las impositivas masas negras: abismo de la imagen, furia sosegada de los cuadros. En prolongado proceso, Legrand trabaja sobre cada zona de sus pinturas despertando respuestas con el agregado de una mancha, frenando su desequilibrio con la vigilancia de otra, cosiendo elementos con hebras de líneas, induciendo circuitos con chorreados y trazos cortantes, suscitando en el contemplador la ilusión de un viaje cuyo itinerario tiene iniciativa propia. Una obra dominada concertando tensiones, balanceando ritmos, organizando la coreografía de esa danza que reclama ser báquica por derecho propio.
MARÍA E. YUGUERO 2012