Call for applications >> Educating.Curating.Managing Master Program 2016-18 Vienna

Call for applications >>educating.curating.managing  /ecm/ 2016-18
Master Program for Exhibition Theory & Practice|
Vienna| Universität für Angewandte Kunst Wien, October 2016 – June 2018
deadline: March 3rd 2016

/ecm/ is a postgraduate master program concerned with core competences in the expanded field of museums and exhibitions. The goal of the two-year university course is to provide the scientific fundamentals and professionalization of cultural work. An intensive engagement with theoretical positions goes together with the development of practical competences in the visualisation and realisation of projects in institutions as well as in the independent scene. The training provides the participants with the tools for work methodologies relating to cultural activity. It invites to experiment in a practice based research context. Because of its comprehensive orientation the post-diploma course of studies is preparation for undertaking challenging tasks in the curatorial field.
/ecm-Directors>>Martina Griesser, Christine Haupt-Stummer, Renate Höllwart, Beatrice Jaschke, Monika Sommer, Nora Sternfeld, Luisa Ziaja
The course is held in German and English, a minimum of B2 level of both languages are requested.
Applications until March 3rd 2016: ecm@uni-ak.ac.at

contacts:

Universität für Angewandte Kunst Wien
/ecm Masterlehrgang
Oskar-Kokoschka Platz 2
1010 Vienna
www.ecm.ac.at
www.angewandte.at

open call : Liverpool Biennial >>Curatorial Internships

Curatorial Internships @Liverpool Biennial
OPEN CALL 

It is seeking two volunteers Curatorial Interns to support the Curatorial team in the closing stages of the 2014 Biennial, research and development of the 2016 Biennial; and the delivery of the Biennial’s year-round public program events.
Volunteer Internships typically last for three months (two – three days per week) and specific activities and learning will include:
Supporting the team to keep paper and electronic files related to artists and their commissions up to date and in good order.
Conducting research and collating information on artists for press, marketing, grant applications and general archival purposes.
Conducting research and collating information on possible sites and venues for the public realm artworks.
In consultation with the Team, booking accommodation and travel where applicable for artists, speakers and curators, and assisting with research visits.
Assisting with the technical, logistical and administrative aspects of developing and delivering the year-round public programme and Australian artist residency programme.
Liaising with various external contacts in order to obtain information required for the research and preparation of 2016 Biennial as well as the year-round public programme, as required.

Internships at Liverpool Biennial are unpaid and are classed as voluntary work, however we do make reimbursement for travel to and from work, and also pay a meal allowance. Total reimbursement is £15 per day.

If you are passionate about Contemporary Art and would like to be considered for an internship please send your CV with a covering letter of application by e-mail to jane@biennial.com no later than midday on 11th September 2014. Interviews will be held on the afternoon of Monday 15 September 2014. Please ensure that you put INTERNS 2014 as the subject title for your email.

more at http://www.biennial.com/

Places of Transition @quartier21 Vienna

Places of Transition
Curated by Gülsen Bal and Walter Seidl.

Jan 24 to Mar 13,2014
Opening: Thu, Jan 23, 19:00
Venue:freiraum quartier21 INTERNATIONAL

Artists: Libia Castro (ESP) & Ólafur Ólafsson (ISL), Köken Ergun (TUR), Vikenti Komitski (BUL), Aslı Çavuşoğlu (TUR), Marco Poloni (SUI), Oliver Ressler (AUT), Milica Tomić (SRB), Santiago Sierra (ESP), Akram Zaatari (LIB)

Demolitions and Excavations (2002) Libia Castro & Ólafur Ólafsson; 

photo credit: Quartier21 Vienna

about the exhibition: 
In search of “possible futures”, the exhibition Places of Transition brings together a variety of art works that engage in an evolving process of producing pluralistic approaches which, in their multiplicity, provoke an encounter on both a visual and discursive level. The changing parameters of transnational questions about common models of interaction necessitate a view on global shifts of power. While the East-West divide in Europe is drawing to a close, the power struggles in the Middle East have pushed back the hopes of the Arab spring and foster the debate on political periods of transition on a global scale.  

In this respect, the exhibition looks at the notion of space as a devise for re-linking and reclaiming “commons” as an effort to engage in a critique of dominant narratives and assumptions. These reflect different stages in and of lived experiences by “looking inside him/her-self; he/she looks into the eyes of another or with the eyes of another.” Each of the invited artists tackles the question of transition with regard to their own country and thus, the exhibition offers multiple voices, which come from different political and religious backgrounds. In this respect, the question of transition questions the attitude with which artists reflect certain traditions in their countries. Being mostly associated with a laical approach towards living, artists nevertheless look at certain traditions in order to formulate a radical break in their work. As a result, critical voices about the past, present and future evolve in order to create new territories of thought.

Gülsen Bal and Walter Seidl, Curators 

image: Burned Word by Santiago Sierra 

© Courtesy of Estudio Santiago Sierra; Quartier21 Vienna

The set-up of the exhibition underlines the curatorial approach that provides the utmost importance to the visibility and the communication of the works, which provide a look at the intersection of social, political and economic codes.

The video installation by Oliver Ressler is a good example. The film “Socialism Failed, Capitalism is Bankrupt: What Comes Next?” was shot in summer 2010 in the largest bazaar of Yerevan, called “Bangladesh.” In the “Bangladesh” bazaar, more than 1,000 people a day try to survive as merchants, but the average seller earns no more than 100 to 250 euros a month. In the film, merchants at the market tell about their battle for survival in the crisis of a post-socialist state in which the majority of all of the factories from the Soviet era have been shut down and the social security network was dissolved.

The video and photographic piece by Milica Tomić also refers to a very personal situation. “Portrait of My Mother (1999)” was produced in the days after the Nato bombardments of Belgrade. Tomić examines the complex relationship between the trauma of the lost Yugoslavian modernity and the new identity policies of the Milosević years. She politicizes the biography of her mother, Marija Milutinović, as an exemplary moment. The narrative leads to the apartment of her mother in a modernist satellite town from the Tito era on the edge of the city – past Muslim settlements from the turn of the century and an apartment building bombed by Nato.

image: Vikenti Komitski "Pop-Up Wall" , installation, 2014 

photo credit: Vikenti Komitski; Quartier21 Vienna

The installation “Pop-Up Wall” (2014) by Vikenti Komitski (born in Sofia and lives in Berlin), which he developed during his residency at the MQ, the artist addresses how borders are still drawn up to protect the “Fortress Europe.” His work refers to Bulgaria’s current attempt to build a 30-kilometer-long border between Turkey and the Bulgarian towns of Lesovo and Kraynovo by February 2014 in order to prevent Syrian refugees from entering the country.


The exhibition also poses the question how artists deal with certain traditions in their home countries. Despite a personal tendency toward laicist models, many artists examine country-specific models and radically deconstruct them in their works. This results in critical statements about the past, present, and future that have the potential to create new territories of thought.

download the brochure : 

Artists:
Libia Castro (ESP)* & Ólafur Ólafsson (ISL)*, Köken Ergun (TUR)*, Vikenti Komitski (BUL)*, Aslı Çavuşoğlu (TUR), Marco Poloni (SUI), Oliver Ressler (AUT), Milica Tomić (SRB), Santiago Sierra (ESP), Akram Zaatari (LIB)
*quartier21/MuseumsQuartier Artists-in-Residence

“Places of Transition” is organized in cooperation with the Federal Ministry for European and International Affairs.

Venue:
freiraum quartier21 INTERNATIONAL
Jan 24 to Mar 13,2014
opening: Thu, Jan 23, 19:00
Vienna
http://www.quartier21.at
for more about the exhibition click here: 

source quartier21 

The Empty Pedestal | Ghosts from the Eastern Europe at ARTE FIERA BOLOGNA 2014

Il Piedistallo Vuoto / The Empty Pedestal | Ghosts from the Eastern Europe 
Arte Fiera Bologna 2014 |  Museo Civico Archeologico
Curated by Marco Scotini and Giorgio Verzotti 
24 January - 16 March 2014

special opening: Monday, January 27,2014
Museo Civico Archeologico | Via dell’Archiginnasio 2, Bologna| Italy

Y. Meldibekov, N. Oris, Tashkent. Lenin, serie Family Album, 40x55 cm, 2008

photo credit: Arte Fiera , Bologna 

about the exhibition:
The 2014 edition of Bologna Arte Fiera is host Il Piedistallo vuoto/The Empty pedestal, an overview of contemporary Eastern European Art belonging to Italy’s top private art collections. The exhibition will feature around 100 large‐scale works and a selection of 40 artists among the leading representatives of the art scene before and after the fall of the Berlin wall: the last generations before and after the dissolution of the Soviet Union.
Following the successful exhibitions, The Premises of the Past recently presented at the Centre Pompidou in Paris and Ostalgia at the New Museum in New York, the Italian exhibition echoes the same themes but with an entirely future‐oriented focus. The very title of the BolognaFiere exhibition alludes to expectation and the passage of time waiting for something still unknown to pass, and a subjectivity yet to be invented. This present‐day condition is expressed in many of the works blending reflections on a collective memory with those on an uncertain future yet to take shape.

The exhibition boasts a wealth of landmark works by artists who had not a found a space in socialist culture, including Ylia Kabakov, Vyatscheslav Akhunov, Jiri Kovanda, Julius Koller, Mladen Stilinovic, Ion Grigorescu, Nedko Solokov and the young generation of artists who have enjoyed widescale recognition with figures like Roman Ondak, Anri Sala, David Maljkovic, Pawel Althamer, Artur Zmijewski, Deimantas Narkevicius, Mircea Cantor and many others. The acclaimed young Slovenian artist Tobias Putrith has been appointed to design a small cinema in which to screen exhibition videos.

Il Piedistallo vuoto/The Empty pedestal plans to reconstruct an entire artistic geography from individual artistic figures and specific epicentres ranging from Prague, Zagabria, Bucharest, Warsavia, Tirana, Belgrade, Riga, Moscow and Saint Petersburg to locations in Central Asia including Alma Ata and Tashkent.

Julius Koller, U.F.O.-naut J.K. (U.F.O.), 1981

photo credit: Arte Fiera, Bologna

"But it won't be an exhibition on nostalgia for the past," emphasizes curator Marco Scotini, who has since long been following the protagonists of this artistic juncture, organizing many internationally acclaimed  research exhibitions. "Instead, it will be an exhibition on a context still very much alive, a potentiality." This exhibit's title alludes to the historical passage, but also a desire, populated by spectres, something that keeps returning, before even having happened. Starting from the 1970s, the exhibition spans two major periods: 1989 with the fall of the Berlin wall, and 1991 with the dissolution of the Soviet Union and the Warsaw Pact. Twenty years on, we shall see videos, performances, installations, photographs, drawings and paintings by many of the artists ostracized by Socialist culture, flanked by the work of the newest crop of young artists now enjoying worldwide fame. The exhibition is a broad survey of the emerging art scene already developed in the late 1990s by curator Marco Scotini in numerous Italian and international exhibitions and coming to a close with Il Piedistallo Vuoto/The empty Pedestal in the premises Bologna’s Archaeological Museum.

Elena Kovylina, Egalité, 2008, dvd video, 9', 

photo credit:  Collezione Fondazione Sandretto Re Rebaudengo; Arte Fiera Bologna

Selected artists include:  
Marina Abramovic, Vyatscheslav Akhunov, Victor Alimpiev, Pawel Althamer, Janis Avotins, Said Atabekov, Miroslav Balka, Mircea Cantor, Gintaras Didžiapetris, Thea Djordjadze, Yona Friedman, Dmitry Gutov, Ion Grigorescu, Ylia Kabakov, Július Koller, Jiri Kovanda, Elena Kovylina, Robert Kuśmirowski, Armando Lulaj, David Maljkovic, Ivan Mikhailov, Deimantas Narkevicius, Paulina Olowska, Roman Ondak, Adrian Paci, Tobias Putrih, Mladen Stilinovic, Nedko Solakov, Anri Sala, Kateřina Šedá, Monika Sosnowska, Miroslav Tichý, Jaan Toomik, Victor Man, David Ter‐Oganian, Bojan Sarcevic, Artur Zmjewski, and many others.

The collections featured in the exhibition include: the Collection Sandretto Re Rebaudengo, the Trussardi Foundation, the Enea Righi Collection, La Gaia Collection, Turin, the Maramotti Collection, Unicredit, the Dalle Nogare Collection, the Gemma Testa Collection, Giorgio Fasol’s Agiverona Collection, the Cotroneo Collection, together with other Italian brand collections.
The accompanying catalogue is published in Italian and English by Mousse publishing and includes contributions by Boris Buden, Keti Chukhrov, Vit Havranek, Marco Scotini, and Joanna Warsza.

Information
ARTE FIERA
International exhibition of modern and contemporary art

Opening times:
24 January–16 March 2014
Hours: Tuesday–Sunday, 10am–6.30pm
Saturday 25 January open until midnight
Monday 27 January special opening
Preview by invitation: Thursday 23 January, 8pm

Arte Fiera
BolognaFiere
Viale della Fiera, 20
40127 Bologna | Italy
www.bolognafiere.it

Award for Young Curators 2014

Award for Young Curators 2014 
Deadline: Friday, 14 March 2014

MARCO, Museo de Arte Contemporánea de Vigo (Spain), 49 Nord 6 Est - FRAC Lorraine, Metz (France), and SFKM, Sogn og Fjordane Kunstmuseum, Førde (Norway) organize the Award for Young Curators MARCO / FRAC Lorraine / SFKM. 

This award gives participants the opportunity to submit a topic of research and reflection which is of personal interest, and the possibility to bring it to fruition in the project venues at MARCO (first-floor gallery), FRAC Lorraine, and SFKM (mainly the ground-and first-floor galleries).

The proposal must be within the field of contemporary artistic creation and is open to any creative forms. The project may be accompanied or constituted by a program of activities in order to open a new space of reflection regarding the treated topic. In case the project—or part of it—results in an exhibition, it may include works already in the collection of FRAC Lorraine and the collections of SFKM (to be discovered during the residency in Førde).

The curator of the winning project will receive the sum of 6,500 EUR, tax included, as an honorarium. His/her travel expenses (for the residencies and installation periods in the three institutions) will be reimbursed upon presentation of appropriate supporting documents, up to 5,000 EUR, including taxes.

The winning project will have a maximum budget of 20,000 EUR for each venue. It will open in 2015.

All curators born on and after 1974 are eligible to enter the competition. If the entry is a group creation, one person will be chosen from that group to represent it and act as mediator. Curators will not be allowed to participate as artists in the projects. No more than one project per entrant will be accepted. Entries must be previously unpublished and must provide for the participation of two or more artists or contributors.

The jury will select the winning project and two finalists in May 2014. The jury's decision is final. The jury may declare the award void should they consider this necessary. The criteria for evaluating the entries will be based on quality and the originality of the research project.
The jury's decision will be made public before May 15, 2014 and all participants will be notified by email.

Entries must be exclusively and simultaneously submitted, PDF format to the following email addresses info@marcovigo.com, coordination@fraclorraine.org, and curator@misf.no with the subject: "Award for Young Curators." Dossiers received in only one venue will not be accepted. Projects must be preferably written in English, although French, Galician, Norwegian and Spanish languages are admitted. In any case, an abstract (two pages maximum) in English must be included.

Deadline for the delivery of the projects: midnight, Friday, 14 March, 2014.
Dossiers received after this time will not be accepted.

Download the awards comprehensive submission guidelines:
www.fraclorraine.org (Section: Travel / Somewhere Else) / www.marcovigo.com / www.sfk.museum.no

Liquid Assets, curated by Luigi Fassi & Katerina Gregos at Steirischer Herbst festival, Graz

steirischer herbst 2013, Graz ,Austria
Liquid Assets: In the Aftermath of the Transformation of Capital
Curated by Luigi Fassi & Katerina Gregos
duration: September 20–December 1, 2013

Five years after the outbreak of the biggest post-war financial and economic crisis, have we really learned anything? Have we understood the pathologies that can be unleashed by an alliance of liberal democracy and market economy that we came to consider as part of the natural order and without alternative? Have we really understood the financial turn, with all its consequences, its devastating effects for the global economy, but also for democracy and human rights, that dramatic shift from tangible to virtual capital, in which assets, concrete and abstract alike, are created and destroyed in fractions of a second?

Understanding the mechanics of capitalism today has become an increasingly complex task given that it has morphed into forms that are increasingly intangible and immaterial. Money, finance and economics have thus become such abstract, opaque concepts that only a few people can understand them fully. The very concept of the notion of money has changed from being an operative aspect of the economy to something able to justify an increasingly speculative economy where money is being harnessed to produce more money; where money is increasingly being made out of immaterial goods and services, out of itself, out of the bare life of human beings, even out of thin air, it would seem.

The exhibition Liquid Assets: In the Aftermath of the Transformation of Capital explores the changes incurred to the financial system and presents a range of international artists who are engaged in exploring the shifting, viral nature of capitalism. It aims to light on the opacity of finance, the current non-transparency of money, and the causes and practices that lie behind financial crises in the present time. Ranging from time-based practices to sculpture and installations, the works on view—a large part of them especially commissioned and produced by steirischer herbst—bring to the fore the dramatic changes that the entanglements of finance, speculation and politics have been enacting on the social body, affecting both bios and anthropos and simultaneously raising issues about the ethics of capitalism and current financial practices.

Participating artists: Alessandro Balteo Yazbeck (DE/VE) & Media Farzin (US/IR), Eric Baudelaire (FR/US), James Beckett (NL/ZA), Alain Bornain (BE), Danilo Correale (IT), Marianne Flotron (NL/CH), Zachary Formwalt (NL/US), Alexandros Georgiou (GR), Goldin+Senneby (SE), Núria Güell (ES), Jan Peter Hammer (DE), David Harvey (US/GB), Kennedy Browne (IE), Gustav Metzger (GB/DE), Anetta Mona Chisa (RO) & Lucia Tkacova (SK), Oliver Ressler (AT), Salinas & Bergman (US/NO), Visible Solutions (EE), Wooloo (DK)

The catalogue Liquid Assets (Mousse Publishing), with texts by Katerina Gregos, Luigi Fassi, Christian Marazzi and contributions by all participating artists, will be published on September 20.

"Liaisons dangereuses: Alliances, misalliances and false friends," the leitmotif of this year's steirischer herbst festival, looks at connections, relationships and their transformation—in society, art and culture and in both the private sphere and in politics. The complete programme of the festival—further exhibitions, created in co-operation with partner institutions, performances, workshops, lectures et al.—can be found on www.steirischerherbst.at

practical info:
steirischer herbst 2013
Liquid Assets: In the Aftermath of the Transformation of Capital
20/09 - 01/12/ 2013
Curated by Luigi Fassi (AT/IT) & Katerina Gregos (BE/GR)
Ex-Zollamt / Halle
Bahnhofgürtel 57, 8020 Graz / Austria
program: 
Thu 19/09, 11:00 >> Press talk and preview
Fri 20/09, 15:00 >> Press preview with Katerina Gregos & Luigi Fassi /English Language/
Fri 20/09, 16:00 >>Press preview with Luigi Fassi /Italian Language/
Fri 20/09, 17.30 >> Exhibition opening
www.steirischerherbst.at

Basak Senova -the curator of Helsinki Photography Biennial 2014

Basak Senova  was appointed for a curator of Helsinki Photography Biennial  ( 27 March - 4 May 2014)

Helsinki Photography Biennial is a series of events on photo/lens-based contemporary art, organized every two years in the spring by Union of Artist Photographers in Finland. HPB14 is produced by Union of Artist Photographers / Photographic Gallery Hippolyte in collaboration with The Finnish Museum of Photography.

Basak Senova is a curator and designer based in Istanbul. She has been writing on art, technology and media, initiating and developing projects and curating exhibitions since 1995. Senova studied Literature and Graphic Design (MFA in Graphic Design and Ph.D. in Art, Design and Architecture at Bilkent University) and attended the 7th Curatorial Training Programme of Stichting De Appel, Amsterdam.She was the curator of the Pavilion of Turkey at the 53rd Venice Biennale (2009). She lectured as assistant professor at the Faculty of Communication, Kadir Has University, Istanbul (2006-2010) and is now teaching at Koç University. Currently, she co-curates UNCOVERED (2010–2013) project in Cyprus with Pavlina Paraskevaidou and the 2nd Biennial of Contemporary Art, D-0 ARK Underground (2013) in Bosnia and Herzegovina with Branko Franceschi.
For HPB14, Basak Senova addresses the theme of Ecological Fallacy. In statistics, ecological fallacy describes errors due to performing analyses on aggregate data when trying to reach conclusions on the individual units. Errors occur in part from spatial aggregation. In this context, the biennial would like to investigate fallacies of ecological knowledge. Therefore, the biennial seeks correlated artistic approaches and perspectives as a way of producing and processing evident critical, social and cultural discourses on these fallacies. Throughout the course of this process, archives will be the essential tool of the biennial. In this way, HPB14 will foster collaborative connections between ecological data and photography-based archives.
Furthermore, Basak Senova has invited Branko Franceschi (Zagreb) to co-curate a special section for the biennial.

HPB14 publishes the preliminary program and names of participating artists in December 2013 on www.hpb.fi

Checkpoint Helsinki>>We are Open! -seminar

International seminar in the Museum of Contemporary Art Kiasma, Helsinki
We are Open! -seminar

Organising openness in artistic, curatorial and institutional practices
29th–30th August 2013

Checkpoint Helsinki and Museum of Contemporary Art Kiasma organise a two-day seminar to explore the concept and practices of openness in producing and mediating contemporary art. Openness is a central concept according to which Checkpoint Helsinki, Kiasma and many other organisations function and is frequently used to describe how we should relate to each other. We are Open! -seminar will provide ideas about how openness can be applied in the work of artists, curators and institutions.

The invited speakers are:
Aaron Levy (director, Slought Foundation, Philadelphia, USA)
Juha Huuskonen (independent curator, Helsinki)
Can Gülcü and Katharina Morawek (directors, artistic and executive team, Shedhalle, Zürich)
Matteo Lucchetti (independent curator, Brussels)
Oliver Marchart (political and cultural theorist, Vienna)
Dana Yahalomi (artist, Public Movement, Tel Aviv)
Ganzeer (artist, Egypt, part of On the Move: Political Strategies in Art programme of HIAP)

On Thursday the 29th of August the invited artists and curators present their talks in three thematic sessions. The topic of openness is discussed within the frameworks of knowledge production, curating, collaborative working methods, public space and audience. Opening speech will be at 10:30 and the programme at Kiasma will finish at 17:00. After the talks everyone is invited to a casual evening gathering at 19:00 in Gallery Augusta (Suomenlinna).

On the second day, Friday the 30th of August, the audience and the speakers have a possibility to delve into the themes of the first day in the form of a facilitated open space workshop and find ways to apply the topics of the first day to their own practices and needs. The workshop will start at 10:00 and finish at 16:00. In June 2012 Checkpoint Helsinki organised a previous open space workshop, where more than a hundred art professionals discussed the needs of the art field and the activities of Checkpoint Helsinki. Checkpoint Helsinki aims to continue working as a platform for artists, curators and other art professionals to discuss and network.

The seminar is free of charge, but the seating is limited. Enrolment by 22nd of August and further information: coordinator Laura Kokkonen, seminar@checkpointhelsinki.fi, tel. +358 40 480 4366.

Facebook event: https://www.facebook.com/events/509029362499726/

Checkpoint Helsinki is a new, non-profit art organisation that commissions and produces artworks and projects by emerging international artists. We are Open! seminar, organised in collaboration with Museum of Contemporary Art Kiasma, is part of the pilot year programme of Checkpoint Helsinki. Checkpoint Helsinki's first commission is titled Chimney Project and it can be seen in the city space during the Helsinki Festival, during the last week of August.

www.checkpointhelsinki.fi/en