Works Sited: Time-Lapse at SITE Santa Fe

April 24, 2012 · Print This Article

SITE Santa Fe, my home city’s premiere contemporary art exhibition space, has a good track record with moving images. Among the many stand out pieces in the Klaus Ottmann-curated 2006 biennial Still Points of the Turning World was Carsten Nicolai‘s immersive mind-melter Spray (you can watch a reasonably unsatisfying version of it here, though I might only recommend that if you can Honey I Shrank Myself to the point of feeling completely overwhelmed by the intensity and ferocity of the image). With 2008 came a marvelous retrospective of pioneering video artist Steina. Last year’s biennial was devoted to works in film and video and featured an embarrassment of riches to braid cinematic and gallery concerns, including Cindy Sherman’s lone stop-motion animation, a stray Raymond Pettibon animation, a stereoscopic dance film by Bill T. Jones and OpenEnded Group and a meticulous tabletop installation by Jennifer and Kevin McCoy which reenacts (as you watch and as figurines of the artists watch [as you watch them]) the indelible tracking traffic jam scene from Jean-Luc Godard’s Week End.

Which is not to say much beyond that an internationally recognized contemporary arts space is doing its job and doing it well. Time-Lapse, the current exhibition (through May 20th), to crib liberally, “challenges the notion that an exhibition is a fixed entity with artworks that remain consistent throughout the time the exhibition is on view.” Changes are made throughout the show ensuring that “no two days will be the same.” I can report on the day I was there, at least.

Since 2007, Mary Temple‘s Currency project has involved drawing a portrait image drawn from a news site and fusing it with an accompanying text built from the image’s caption and its headline. The works are scanned each day and posted digitally on her website (and to twitter) and physically on the walls of SITE.

Byron Kim‘s decade-plus Sunday Painting series couples weekly cloud paintings with diaristic texts. They’re quite lovely and give a sense of the ordinariness of his days (kids’ soccer woes, lots of meals, sending paintings to Santa Fe), the slow passage of time and the continual flux of something like a sky. I enjoyed imagining the graphite texts on the clouds taking the place of his attempts to anthropomorphize and concretize the abstract churning billows: it looks a demon riding a circus elephant, no, wait, it looks like chicken parmesan for dinner and, oh shoot, I forgot to call Jerry, it’s ok, I’ll see him tomorrow.

Rafael Lozano-Hemmer‘s Pulse Index is a far-sighted palmist’s new best friend. The interactive installation records the fingerprints and heartbeats of visitors and plays them back on a series of screens. The video of the most recent print takes on gargantuan proportions and knocks the next most recent down a scale. This in turn knocks the next and the next down until eventually each kid is knocked off the bed, like so many nursery songs. His Microphones is also interactive, featuring a microphone with an embedded speaker. Upon speaking (or singing) into the spotlit microphone it responds with a past visitor’s speech (or song).

Most impressive to me was Eve Sussman and Rufus Corporation‘s whiteonwhite:algorithmicnoir. Like past works by Sussman and her team, art history loans the title (White on White) to this heady, recombinant algorithmic noir. The film is edited/constucted in real time through an artisinally-crafted computer algorithm using 3,000 film clips, 80 voice-overs and 150 pieces of music. The quasi-narrative is in continual flux with constant new collisions of image, text and sound. The wall text carefully credits all involved (the Rufus Corporation) in a bold expression of the collaborative nature of the project.

Its clever technological sophistication is evinced through a flatscreen showing the coded processes by which the combinations we’re watching arise. Though I am not a programmer (nor did I speak with Jeff Garneau, the team’s programmer), I was able to glean that the image, text and musical sequences have a variety of tags associated with them. The computer hunts for other like tags in choosing the next clip. In so doing, our concept of the elliptical and subjective strategies of poetic cinematic representation are both challenged and satisfied. When trees as a metaphor transition into literal trees, the decision making process feels honest and human. Indeed, that the film is set in a dystopian future city and has so many hallmarks of a hazy science fiction essay allows the narrativiness greater space to root itself in our brains. I don’t even know that all people are aware that the film is continually changing.

Less successful, I felt, were the looping films in the Time Capsule Lounge. As I’ve said before, the “recontextualizing” of works meant to be experienced in a linear and trajective manner in a cinematic space to the looping, gallery space is rarely successful. The lounge is not without its charms, though including a curated library of time travel books and a series of special performance events programmed by amorphous dynamo local art collective Meow Wolf.

Somewhere in and outside of all of this was the March 2012 web-exhibition. Conceptually indebted to Seth Siegelaub‘s catalogue March 1969 (a.k.a. One Month), the website featured a different work by a different artist each day of March. As now, the (physical) gallery is showing a playlist that takes you through the month. And though this screening mode for many of these works might garner the same criticism of the loops shown elsewhere, that this component of the exhibition is acting as a catalogue of an internet-based show feels distinct and justified to me. The website now is mostly links to the artists featured (and not the specific pieces) but is still an excellent grouping.

Episode 347:Katharina Fritsch

April 24, 2012 · Print This Article

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This week: We talk to artist Katharina Fritsch!

Richard says “cock” and “Hologram Tupac” a whole lot.

Katharina Fritsch is known for her sculptures and installations that reinvigorate familiar objects with a jarring and uncanny sensibility. Her works’ iconography is drawn from many different sources, including Christianity, art history and folklore. She attracted international attention for the first time in the mid-1980s with life-size works such as a true-to-scale elephant. Fritsch’s art is often concerned with the psychology and expectations of visitors to a museum. Gary Garrels wrote that “One of the remarkable features of Fritsch’s work is its ability both to capture the popular imagination by its immediate appeal and to be a focal point for the specialized discussions of the contemporary art world. This all too infrequent meeting point is at the center of her work, as it addresses the ambiguous and difficult relationships between artists and the public and between art and its display—that is, the role of art and exhibitions and of the museum in the late twentieth century.” The special role colour plays in Fritsch’s work has roots in her childhood visits to her grandfather, a salesman for Faber-Castell art supplies, whose garage was well-stocked with his wares.

Her most recognized works are Rattenkönig/Rat King (1993), a giant circle of black polyester rats, included in the 1999 Venice Biennale. Other works include Mönch (Monk) (2003), a stoic, monochromatic male figure, made of solid polyester with a smooth, matte black surface; Figurengruppe / Group of Figures (2006-2008), an installation of nine elements; and Hahn (Cock) (2010), a 14ft (4.3m) cockerel in ultramarine blue to be shown on London’s Trafalgar Square in 2013.

In her working process, Fritsch combines the techniques of traditional sculpture with those of industrial production. While many of her early works were handcrafted, Fritsch now makes only the models for her sculptures and then hands these over to a factory for production, to near-pathological specifications. She uses these models to create moulds, from which the final sculptures are cast in materials such as plaster, polyester and aluminium. Many are made as editions, meaning that multiple casts are taken from one mould.[5] For the duration of some of her exhibitions, Fritsch has made her multiples available for sale at the respective museums.

Going the Distance: An interview with Alan and Michael Fleming

April 20, 2012 · Print This Article


Marissa Perel : Here we are in Brooklyn talking about your solo show, “Game On” at threewalls, March 9-April 21st. You are going to give an artist talk at the gallery on April 21st?

Michael Fleming : Hello. Yes, we’ll be giving our talk from 2-4 PM that day.

Alan Fleming: Then we open our solo show, “Spatial Reasoning” at the Happy Collaborationists that night at 6.

MP : So busy! I wanted to ask you guys about your studio practice. Your threewalls exhibition has sculpture, works on paper and performance for video, which is a lot to cover at one time. I’d like to know specifically what your practice was while you were apart in from 2010-2011, and then what it was like when you came together in Brooklyn in 2011.

Psychic Color Calendars, 2011, calendars, 24" x 24"

MF: After working together for several years in a practice that was mostly focused on performance and video and our bodies physically being dependent and in the same proximity, we were were trying to wrap our heads around what to do not being in the same place. How do we collaborate if we are not doing the type of performance and body-based work that we’re known for? So, I think it started to lead us into these questions about communication and connection. People used to poke fun at us or asked us about these issues in our daily lives as twins, like if we had telepathy, or our own language. We tried to take that as a starting point, playing with the idea of latent twin “psychicness,” but also investigating it as a metaphor for how we stay connected when we’re not in the same physical location. How do we collaborate across distance?

One of the pieces that we started the first month of last year resulted in these calendars but it originated from this game where we would try and think of the same color and shape at the same time every day for one month. We were both spending time thinking about these things. We came up with drawing and sculpture, as a means of working out a problem but still trying to hold on to an embodied practice.

MP: I can see that happening in this show, testing the space between game and science experiment, and modes of embodiment. I really enjoy your games, especially the rock, paper, scissors sculptures. I heard that you both didn’t actually know who won until you made the molds? Is that true?

Rock Paper Scissors, 2011, hydrocal, 3" x 36" x 20"

AF: We actually didn’t know who won until we installed the show. So, we had the molds made and we were like, “ok we’re ready to go,” but we didn’t know until the day of the install, which is probably nine months or something after the initial game which we played over the phone. So, we didn’t know until that moment who won.

MP: Because you had to set them in chronological order?

AF:  Yeah, so even though we saw the casts in our studio, we didn’t know what permutation of the game they represented. I knew from left to right, this one, this one, this one, and then Mike had something to match that, but we didn’t know which one matched up with which. And, that’s kind of the point of that game. There is no stronger piece, like there is in chess or something, where you have better odds if you go with a certain one in terms of probability. Rock, paper and scissors are equally good choices no matter what you choose.

MF: We were really interested in this idea of a really ephemeral game that we would play when we were younger that was kind of a low-stakes game. But, that if we stretch it out over time and distance, and we embody it in this classical medium, it becomes something larger than itself, or something larger than a game between us, it becomes this metaphorical, conceptual object.

MP: Yes, I noticed that about your mis-matched chairs, too. They made me think of Kosuth’s semiological deconstruction: what happens when you see a thing and then a definition of the thing? Does the language equal the object? But, for you guys, it’s like, each half of the chair is supposed to symbolize you, and then you’re putting them together, and it creates a third idea of what you are.

MF: I think there’s definitely something related to that in terms of the disconnect, because we had a prompt for each other where we said, “Ok, at the same time on the same day we are just going to find a generic, wooden chair; just four legs and a back.” Those were the parameters we used to work with this readymade object. But then, other factors came into play, like what were choices in picking out the chairs and what the limitations were of what was available.

Conjoined Chairs, 2011, wooden chairs, 36" x 24" x 24"

AF: Yeah, our location, too. A chair from Brooklyn Heights versus a chair from Lakeview, not that you can tell which is which…

MF: I think the manifestation of them became these readymades that were dependent on our own choices and the difference inherent in that, along with the difference of our locations and places and two different sites, even though they’re generic chairs. This idea of a readymade that is spliced in half and superimposed on another to make this third, new thing that isn’t either of our chairs.

AF:  The point of that wasn’t to have two distinclty different halves of a chair. We first thought that it would just look like a chair with a line down the middle – that the two sides would have a kind of a similar character to them.

MF: We kind of thought of it as one thing split in two by its origin.

AF: The most interesting thing to me is looking at the different rungs of the chairs and how they don’t match up.

MP: It’s interesting that once the chairs are conjoined, they are no longer functional.

AF: Yes, they become nonfunctional objects. That reinforces the readymade nature of these things because they’re not meant to be sat on, they’re meant to be looked at. But, it’s also this weird psychic collage that we made.  Conjoined chairs that no longer function separately.

MP: You also show the sculptures that I saw in your thesis show [at the School of the Art Institute of Chicago] of the measurement of your height and weight and the measurement of time between when you were each born. Those objects are highly refined and manufactured, they’re in plexiglass as opposed to the readymades that you used in the rest of the exhibition that are definitely from the everyday and meant to be low, like the cardboard box. In thinking about difference and how you’re recording distance and communication, how do you discern between these refined objects and the everyday materials?

MF: Even though they’re refined in their look and feel, I think, for both of us, we think of them as a kind of farce in that way. They have the austerity of minimalist sculpture, but they point to something very human. It’s showing an objective difference from each other, but the mathematical reduction doesn’t tell you anything about either of us. The piece points to difference being found in other things. Individuality is found in ways that can’t be measured objectively. That’s the lesson of that piece to me.

Our Difference in Height and Weight, tungsten metal cube, 1.5" x 1.5" x 1.5", 2.5 lbs. (left), Our Difference in Age, six minute silver-plated sand timer, 6" x 3" x 3", (right) 2010

AF: The “Our Difference” sculptures are analogous to how I think of “100 tilted cans of beer.” Even though there’s a high and low, or readymade to highly manufactured comparison, I feel like this idea of embodied practice is still present in each of those. The beer cans balancing for two months on their edge reference our bodies just as much as this little cube with our weight difference. But, as far as the plexiglass and this sterile environment, I felt like we created those as units. Before digital times, I guess, scientists had a certain weight that they kept in this big vault for the measurement of a kilogram. Everyone referenced it as this one truth, everything pointed toward this one unit, which our whole system of measurement is based on. We are creating a unit from a system of measurement to show the difference between our bodies, and putting meaning and truth to that as something that defines what a twin is. It’s an idea of a protected unit, and why those were on a different level, or plane, but I feel like they still have the physicality of the rock, paper, scissors, or the balanced cans.

100 Tilted Cans of Beer, 2012, cans of Budweiser, 6" x 8' x 8'

MP:  In talking about units of measurement, I’m thinking of the Tetris drawings that you each made. Did you each make a drawing for every lost game? Explain how you went from playing Tetris to drawing it.

AF: We went to an arcade and played an hour’s worth of Tetris and we did these drawings of all the “Game Over” screens. The point of Tetris is to keep this grid of blocks completely clean by completing lines. A “Game Over” screen records your failure to perform this task of puzzling together these different shapes. We each have different ways of failing at that task. What gets recorded in each drawing is the inability to perform this puzzle.

MF: I think the ways [we’re failing] are important because one of the reasons we wanted to find an actual arcade with Tetris, is that for the original two-player Tetris, if you’re playing against someone else, you both get the same Tetris pieces at the same time. So, if you were to mirror each other perfectly, you could go on endlessly. But because of the choices you make, how you decide where you place the pieces, variations start to occur.

AF: It’s a record of human error.

MF: A colorful record. The game pieces made for these beautiful drawings of failure.

Game Over (Tetris Drawing Series), 2012, set of ten drawings, ink and colored pencil on grid paper, 8" x 10" each, 1 of 5, (drawn by Alan Fleming)

MP: I do want to carry on with talking about failure as material in your work. There is something between farce and failure that’s constantly at play in this show that, to me, is a huge departure from your previous work as I’ve known it. I want to hear a little more about your interest in difference now and what you’re bringing out about it through playing these games.

AF: I think we definitely tried to have fun in a new way with this work, where we might have been more serious in other work in the past. I think it comes from this time when we were apart, asking ourselves if we wanted to keep collaborating. Is it fun? Is it something…

MF: Of value?

AF: Yeah, and I think a lot of the value for us was this idea of play…

MF: I think that came through for us in “Lessons in Gravity” because that is a video work where we tried to create these short clips where it was us just going out, doing these actions, and not knowing the outcome of it. They were kind of down and dirty, quick video shoots at all different locations. “Who’s Bad?” is a departure from our past work because it’s not edited. I think that’s something that’s changed, how we’re now showing our process of collaborating, showing this discovery, which is an experience of going through something instead of going for the final product.

MP:  Which is definitely revealed in “Psychic Color Pour.”

AF: Yeah, exactly. It’s putting out on the table how we’re going through these processes, or how we’re collaborating, and how having fun is a part of that.

MP: Al looked really excited to pour paint on you, Mike [in that video]. I feel like between that one and “Who’s Bad?,” I was seeing the individual in this way that I haven’t seen in your previous work.

Psychic Color Pour, 2012, single-channel video, 6:39 (looped)

AF: I don’t think we’d allowed that before because I think we felt like deadpan humor required this seriousness about it in order to get our intended reaction. I think Mike put it perfectly, [when he said that] the video works  show a process. Our personalities leak out in that moment, when we’re not posing for the picture. It’s recording just before that moment of performing or putting forward your ‘best face’; it’s a little bit more raw…

MF:  And unrehearsed.

AF: Yeah, it’s rehearsal takes. For “Who’s Bad?,” after I had been teaching Mike the moves, we were becoming precise, performing the whole combination. But when we started to look at the footage, we were struck by the moment of learning. So, I told Mike, “Don’t learn any choreography before you get to the subway.” The only times he would learn were in front of the camera. So, I would introduce new material to him, explain it, and he would have to learn it on the spot, on site, with people looking.

MP: You have that experience with intervening in public space from your past work.

AF:  This is funny because one of the things that we learned when we were doing those performances in architecture, is that if any authority figure would come over and tell us not to do it, we would tell them we were dancing. It was a more legitimate response than saying we were doing performance art. If we told them it was dance, they were like, “Oh, I understand what that is so I am going to keep watching.”

Who’s Bad?, 2012, single-channel video, 10:44 (looped)

MF: But if you’re climbing a building, then you’re a burglar.

AF: Yeah, basically!

MP: Tell me more about this turn between the deadpan and this place where you’re being sincere or serious about what you’re doing, but what you’re doing is totally ridiculous.

AF: Well, I think the turn comes in this idea of no rehearsal that we talked about with “Who’s Bad?”. In the “Psychic Color Pour” it’s just inherent. We can’t rehearse it, it’s a game, it’s always going to be this live recording of reactions and choices and, therefore we can’t know the outcome. It’s nice because then it is just about that process of playing this game. Guess wrong and it’ll be colorful. [laughs]

MF: It’s important that we made this body of work that was interdisciplinary and experimental for our practice. We’re in the same city again and trying to make performance and video work again, but it feels more open and more complex. It felt like we were ready to have fun in a new way.

AF: Since we have a studio together again in New York, it has become this really generative site where we we’re like, “Ok, are we going to make a drawing today? Are we going to make a dance? Are we going to make a sculpture? Is this going to be something that lives on for us?” Basically, it’s very open-ended, the studio feeling after this roundabout journey. I don’t know if any of that makes sense.

MF: It’s good!

Alan and Michael Fleming will give their artist talk for their threewalls SOLO exhibition, Game On, April 21 from  2-4 PM in the gallery. That same evening, their show Spatial Reasoning, opens at Happy Collaborationists, 1254 N Noble, Chicago, IL, reception: 6-10pm.  Spatial Reasoning runs through May 9th by appointment.

Marissa Perel is an artist, writer, and independent curator based in Brooklyn, NY. Current projects include “Days of being good to you, always,” a collaboration with Anthony Romero for the ITINERANT Performance Art Festival, NY  and co-curation of the Movement Research Festival Spring 2012: Push It. Real. Good. She is co-editor of the on-line dance and performance journal, Critical Correspondence. Perel is also the author of Gimme Shelter, the exclusive column on performance for the Art21 blog.



Endless Opportunities (Or Something)

April 20, 2012 · Print This Article

This week is making up for last weeks failure in the opportunity department.

The first notable Internet-y thing though is the fact that Google is taking applications for a professional “Doodler” which could be really awesome. Did you see the Eadweard Muybridge radness the other day? Apply, apply, apply!

More info here:

Otherwise there is about a thousand things to look at internationally speaking, as well as something going down at Harvard Museum if you’re fancy. The last few posts have been NYC-heavy and I think we need to scale that back a bit. If, for whatever possible reason, you do live in New York and you’re reading this, I’d suggest joining the New York Foundation for the Arts (NYFA) email list like everyone else on the planet.

We occasionally like to feature our friends when they’re in the midst of their Kickstarter fundraising and this week we heard about a weirdo abandoned amusement park in Berlin that must be changed into Kulturepark – a magical site as a place for creative exchange, site-specific art, urban design, historic memory, social connection, and public imagination.

Fund it.


Chicago-centric updates:

Acre extends residency application by 2 days?! What? Why did I stay up late stressin’ last night…

– Firebelly design is inviting the brightest and most talented design students + recent grads to join forces inside their Chicago studio for Camp Firebelly 2012


Everywhere Else:


Now for an all encompassing insane list of crazy opportunities of everything from Houston’s Lawndale residency (hi guys!) to something called “VIDEOHOLICA” in Bulgaria. Hopefully your German is better than mine.




Director at artworks-mk, UK, England, Milton Keynes.
Deadline: April 19, 2012 

Zum nächstmőglichen Zeitpunkt ist an der Hochschule für Bildende Künste Dresden die Position des/der Rektors/Rektorin zu besetzen. Germany.
Deadline: April 19, 2012

Milton Keynes MK Gallery: We’re currently seeking an ambitious and capable person to join the Gallery team and work closely with the Director on the organisation and delivery of the exhibitions programme. UK.
Deadline: April 20, 2012

The National Gallery: Assistant Conservator – Band 5 JOB REF: CON/05 – UK, England, London.
Deadline: April 20, 2012

Der Regierende Bürgermeister von Berlin, Senatskanzlei – Kulturelle Angelegenheiten: Leiter/in der Kulturabteilung – Kennzahl 08/12 – Berlin, Germany.
Deadline: April 20, 2012

Assistant Professor, Digital Humanities, Eugene Lang College, The New School for Liberal Arts, USA
Deadline: April 20, 2012

Deadline: April 20, 2012

The Trustees of The Cooper Gallery and Barnsley Metropolitan Borough Council are seeking to appoint a fine art researcher for a short-term contract. For further information and a full brief, please contact Natalie Murray at Natalie Murray per e-mail. UK.
Deadline: April 23, 2012

Die Stadt Schwäbisch Gmünd sucht zum frühestmőglichen Zeitpunkt eine/n Museumsdirektorin / Museumsdirektor. Germany.
Deadline: April 24, 2012

Hochschule Luzern – Design & Kunst: Vizedirektion/Forschungsleitung. Switzerland.
Deadline: April 25, 2012

Michigan State University, MATRIX: The Center for the Humane Arts, Letters, and Social Sciences is seeking an experienced, creative, and talented individual to fill the position of Assistant Director. USA.
Deadline: April 25, 2012

The Skirball Cultural Center seeks a dynamic and imaginative curator to develop temporary exhibitions as a member of the Museum curatorial team. USA.
Deadline: asap.

Deputy Dean: Faculty of Art, De Montfort University, Leicester. UK.
Deadline: April 26, 2012

Museum für Kommunikation Bern: Projektleiterin / Projektleiter Dauerausstellung. CH.
Deadline: April 27, 2012

Dulwich Picture Gallery: Exhibitions Officer. The holder of this post will report directly to the Head of Exhibitions (HOE). UK.
Deadline: April 27, 2012

Dulwich Picture Gallery: Assistant Curator. The holder of this post will assist the Chief Curator with the care and display of the Gallery’s paintings. UK.
Deadline: April 27, 2012

BCA Center Curator – Burlington City Arts – USA.
Deadline: April 27, 2012—DMS-Documents/Curator—BCA-Center/

Research Associate: UCL, London. UK.
Deadline: April 27, 2012

The Canadian Centre for Architecture (CCA) launches the Young Curators Program and the Power Corporation of Canada Curatorial Internships Program.
Deadline: April 27, 2012

Program Director, Artisphere Cultural Center, Arlington County Government (Arlington VA). USA.
Deadline: asap.

Binghamton University is seeking a Director of the University Art Museum. UK.
Deadline: Open until Position Filled

Volkswagen Fellows at MoMA PS1: Call for applications for year-long fellows to work on a large scale international exhibition at MoMA PS1. USA.
Deadline: April 30, 2012

Das Festival CULTURESCAPES sucht per sofort eine/n ProduktionsleiterIn Bildende Kunst & Musik: 80-100%. Basel, CH.
Deadline: April 30, 2012

Galerie Thomas: Assistent/in der Geschäftsleitung – München, Germany.
Deadline: April 30, 2012

La Haute école d’art et de design – Genève met au concours le poste de :
Chargé-e de cours HES en Arts visuels / Orientation WORK.MASTER. Pratiques artistiques contemporaines. Taux d’activité : 40-50%. Entrée en fonction : 1er septembre 2012. Switzerland.

Deadline: April 30, 2012

Chargé-e de cours HES en Histoire et théorie de l’architecture, de l’architecture d’intérieur et du design. Taux d’activité : 40%. Switzerland.
Deadline: April 30, 2012

La Haute école d’art et de design – Genève met au concours le poste de :
Chargé-e de cours HES en photographie technique/pratique. Taux d’activité : 50%. Entrée en fonction : 1er septembre 2012. Switzerland.

Deadline: April 30, 2012

Die HPZ-Stiftung sucht eine(n) Mitarbeiter(in) mit kunsthistorischer und medienwissenschaftlicher Vorbildung zur Assistenz und Sekretariat des Vorstands. Düsseldorf, Germany.

Deadline: April 30, 2012

Mount Holyoke College – Five-College Mellon Postdoctoral Fellowship
in African Art 2012-2015. USA.

Deadline: May 3, 2012

Die Kulturdirektion der Landeshauptstadt Erfurt sucht 1 Kurator/in: Forum Konkrete Kunst/Kunst im Å‘ffentlichen Raum/Aussermuseale Kunst. Germany.
Deadline: May 4, 2012

Renke B. and Pamela M. Thye Curatorial Fellowship (Joseph Beuys) at Harvard Art Museums. Busch-Reisinger Museum. Inquiries may also be directed to the Human Resources Office (telephone - +1 617.495.3555. USA.
Deadline: May 4, 2012

Stefan Engelhorn Curatorial Fellowship at the Harvard Art Museums is
designed to broaden the experience of persons embarking on professional
and scholarly careers in art history who are considering the museum
profession. Cambridge, MA, USA.
Deadline: May 4, 2012

Volkswagen Fellows at MoMA PS1

Deadline: April 30, 2012

The Volkswagen Fellows will assist various museum departments in research, writing, correspondence and other tasks required to produce a large scale international exhibition at MoMA PS1 in 2013, which will be made possible by a partnership with Volkswagen of America.

EUNIC is delighted to present the Curatorial Exchange Programme 2012 for internship in European museums and galleries. Young Russian curators will get internships (from 3 weeks to 2 months) in the leading museums and contemporary art galleries in Europe.
Deadline: May 4, 2012

The British Museum Africa, Oceania and the Americas is looking for a Curator: American Collections, Full-time, Permanent. London, UK.
Deadline: May 9, 2012

Museum Folkwang: Freie Mitarbeit / Werkvertrag, Kunst- / Kulturvermittlung. Germany.
Deadline: May 13, 2012

Heart of Brooklyn, a nonprofit cultural consortium, seeks a dynamic self-starter and highly motivated individual as Director to manage the partnership activities. NYC, USA.
Deadline: May 15, 2012

Toledo Museum of Art Fellowship Program in collaboration with the Andrew W. Mellon Foundation invites applications from candidates who completed their doctoral studies within the last five years in art history or a related discipline. USA.
Deadline: May 15, 2012





Lynne Newman Foundation scholarships: Master’s Degree programmes at Sotheby’s Institute of Art, London and New York
Deadline: as long as space is available. Programmes begin in September

ERSTE Foundation offers four fellowships for young artists and four fellowships for emerging curators from the Czech Republic, Hungary, Romania and Slovakia to take part in a course of their choice at the International Summer Academy of Fine Arts in Salzburg 2012.
Deadline: April 30, 201

maHKU (Utrecht, The Netherlands) offers one-year Master of Arts programs in visual art or design. maHKU Master degrees are internationally acknowledged and accredited by the Open University Validation Services in London (OUVS).
Deadline: April 30, 2012

École du Magasin, Curatorial Training Program Session 22 (2012–2013): Call for applications. Grenoble, France.
Deadline: April 30, 2012

BIAA Post-Doctoral Research Fellowship 2012/13 in Turkey. Applicants must have a demonstrable connection with a UK University.
Deadline: May 1, 2012

Kingston University London: Masters studentships for 2012/13. UK.
Deadline: May 1, 2012

Master programme Arts in Public Spheres at Ecole Cantonale d’Art du Valais ECAV. Switzerland.
Deadline: May 11, 2012

Scuola Normale Superiore in Pisa 2012-2013: call for Applications for Admission to PhD Programmes (art history) – Academic Year 2012-2013. Reserved to Citizens of European Union Nations – Faculty of Arts, Italy.
Deadline: August 1, 2012






The Cornaro Institute, Cyprus


Deadline: 1 August 2012


The Cornaro Institute (formerly the Cyprus College of Art) is an international cultural organisation located on the Mediterranean island of Cyprus. We invite applications for our programmes and artists residencies starting in September 2012.

I-Park/Expressiones Residency Program for Latin American Visual Artists, East Haddam, CT, USA.
Deadline: April 29, 2012

Artist in residence program at Triangle, Marseille, France.
Deadline: April 30, 2012

Artists-in-residence program of ARCUS Project 2012 IBARAKI has been opened. Japan.
Deadline: April 30, 2012

The Harvestworks New Works Artist in Residency Program, NYC, USA.
Deadline: May 1, 2012

The Distillery Residency is an 8 week free workspace-only residency running from June 18th  to August 17th  at The Distillery, a former rum distillery and arts building in South Boston, MA, USA.
Deadline: May 1, 2012

The Rockefeller Foundation Bellagio Center Arts & Literary Arts Residency Program. Italy.
Deadline: May 1, 2012

Residency program, Art Foundation of Schloss Plüschow (Germany)
Deadline: May 3, 2012

Fire Island Artist Residency (FIAR), the first artist-in-residency program in the United States exclusively for GLBT emerging artists, is now accepting applications for its 2012 Summer Residency Program in New York.
Deadline: May 4, 2012

McColl Center for Visual Art’s residency program: UNC CHARLOTTE ARTIST-IN-RESIDENCE. USA.
Deadline: May 7, 2012

McColl Center for Visual Art’s residency program: Carolinas Healthcare Artist-in-Residence. USA.
Deadline: May 7, 2012

Artist Residence “The Old School”, Gorna Lipnitsa, Bulgaria.
Deadline: May 9, 2012

From the beginning of the year 2012 offers Art Center Haihatus in Central Finland an opportunity for artists practicing any art form to work temporarily in its Utopia house.
Deadline: May 15, 2012

Interacciones urbano_rural provides periods of residence in Terra UNA (Brazil), Residencia en la Tierra (Colombia) and CENTRO RURAL DE ARTE(Argentina).
Deadline: May 15, 2012

Big Bang Projects: Art at Zero KM Summer Residency Workshop, Italy.
Deadline: May 20, 2012

2013 AIR Taipei Open Call for Arts-in-Residence. Taiwan.
Deadline: May 20, 2012

Lawndale Artist Studio Program Call for Applications, Houston, USA.
Deadline: May 25, 2012

ComPeung Grant 2012 – Call for applications, Thailand.
Deadline: May 31, 2012

Lademoen Kunstnerverksteder residency: Lademoen artists’ studios are in the centre of Trondheim, Norway.
Deadline: June 1, 2012

Amsterdam OAZO-AIR call for 2013: OAZO AIR invites artists of all disciplines, curators and cultural producers to live and work temporarily (1 – 3 months) in Amsterdam Zuidoost. Netherlands.
Deadline: June 1, 2012

The SIM Residency is an international residency located in Reykjavík and run by SÍM, The Association of Icelandic Visual Artists.
Deadline: June 5, 2012

Klaustrid (the Monastery) is a residence for artists, writers and scholars, Icelandic or foreign. Iceland.
Deadline: June 15, 2012

Residency at 33officinacreativa: a small but active cultural association based in an old church/theatre. Toffia, Italy.
Deadline: June 25, 2012

ISLAND Hill House Artist Residency Program, East Jordan, MI, USA.
Deadline: July 2, 2012

IAAB (International Artists Exchange Program) is an exchange program for artists and curators. Basel, CH.
Deadline: July 8, 2012

Residencia Corazón Casa de Artistas, Buenos Aires, Argentina.
Deadline: August 1, 2012

Applications to Nes Artist Residency may be submitted at any time (open call). Iceland.
Deadline: Anytime

McColl Center for Visual Art’s residency program: ARTIST-IN-RESIDENCE + ENVIRONMENTAL ARTIST-IN-RESIDENCE. USA.
Deadline: Anytime

Artist in Residency Program, Shanghai @ The Swatch Art Peace Hotel, Shanghai, China.
Deadline: Anytime.




Air Celeia: Open Call – International Curatorial Residency, Slovenia

Deadline: May 1, 2012

Amsterdam OAZO-AIR call for 2013: OAZO AIR invites artists of all disciplines, curators and cultural producers to live and work temporarily (1 – 3 months) in Amsterdam Zuidoost. Netherlands.
Deadline: June 1, 2012

Klaustrid (the Monastery) is a residence for artists, writers and scholars, Icelandic or foreign. Iceland.
Deadline: June 15, 2012

IAAB (International Artists Exchange Program) is an exchange program for artists and curators. Basel, CH.
Deadline: July 8, 2012





ERSTE Foundation offers four fellowships for young artists and four fellowships for emerging curators from the Czech Republic, Hungary, Romania and Slovakia to take part in a course of their choice at the International Summer Academy of Fine Arts in Salzburg 2012.
Deadline: April 30, 201

Főrderprogramm *KURATOR der Gebert Stiftung für Kultur, CH.
Deadline: August 31, 2012

Open Society Arts and Culture Program for individuals and organizations: the Call is open to applicants from and activities in one or more of the following countries: Afghanistan, Armenia, Azerbaijan, Georgia, Kazakhstan, Kyrgyzstan, Moldova, Mongolia, Tajikistan, Turkey, and Uzbekistan. 
Deadline: December 31, 2012





Wirksworth Festival invites high quality, ambitious and engaging work from national and international artists as well as artists in the locality and the region. UK.
Deadline: April 18, 2012

Maria Jose Jove Foundation – 5th International Visual Arts Prize 2012 for artists aged under 35,  Spain.
Deadline: April 20, 2012

Without Walls invites artists and companies from any discipline to propose ideas for the development of new outdoor work for presentation in 2013, UK.
Deadline: April 20, 2012

ANGELIKA OPEN 2012: an award of £1,000 will be made to one selected artist and the winner will be offered an exhibition in the  Gallery program. High Wycombe, UK.
Deadline: April 30, 2012

The International Ibsen Scholarships: For Henrik Ibsen related projects worldwide.
Deadline: April 30, 2012

The Cynthia Corbett Gallery announces the Young Masters Art Prize 2012 call for applications, London
Deadline: April 30, 2012

Kernel Festival (ELECTRONIC MUSIC / AUDIOVISUAL MAPPING / INTERACTIVE & DIGITAL ART / TEMPORARY ARCHITECTURE) launches an international open call addressed to young talents under 35. Italy.
Deadline: April 30, 2012

The Department of Visual Arts, Weber State University is requesting artist, landscape architect or team qualifications for the redesign of the Ora R. “Dick” & Edna Ione Hall Sculpture Garden. USA.
Deadline: June 1, 2012

VIDEOHOLICA Video Art Festival in Varna, Bulgaria is accepting now video art submissions for its 5th anniversary edition.
Deadline: June 30, 2012
Open Society Arts and Culture Program for individuals and organizations: the Call is open to applicants from and activities in one or more of the following countries: Afghanistan, Armenia, Azerbaijan, Georgia, Kazakhstan, Kyrgyzstan, Moldova, Mongolia, Tajikistan, Turkey, and Uzbekistan. 
Deadline: December 31, 2012

Call For Submissions, The New Gallery, Calgary, Canada.
Deadline: Anytime


Top 5 Weekend Picks (4/20-4/22)

April 20, 2012 · Print This Article

1. The Kipper + the Corpse at Robert Bills Contemporary

Work by Jessica Labatte, Mike Andrews, Montgomery P Smith, and Lauren Anderson.

Robert Bills Contemporary is located at 222 N. Desplaines. Reception Friday 6-8pm.

2. Hairy Blob at Hyde Park Art Center

Curated by Adelheid Mers, with work by Becky Alprin, Nadav Assor, Deborah Boardman, Lauren Carter, Sarah FitzSimons, Ashley Hunt in collaboration with Taisha Paggett, Judith Leemann, Kirsten Leenaars, Faheem Majeed, and Emily Newman.

Hyde Park Art Center is located at 5020 S. Cornell Ave. Reception Sunday 3-5pm.

3. The Last Image at Tony Wight Gallery

Work by Sreshta Rit Premnath.

Tony Wight Gallery is located at 845 W. Washington Blvd. Reception Friday 6-8pm.

4. The Near and the Far at Devening Projects + Editions

Work by Jin Lee.

Devening Projects + Editions is located at 3039 West Carroll. Reception Sunday 4-7pm.

5. Set Theory at ACRE Projects

Work by Angela Jerardi and Samantha Rehark.

ACRE Projects is located at 1913 W 17th St. Reception Sunday 4-8pm.