Everything is Fucked.

May 5, 2015 · Print This Article

Everything is fucked.

We’re all so busy burning the land and boiling the sea that the new Mad Max movie looks less like an escapist fantasy and more like a preview of what the world’s going to look like in a generation or two. The huge populations of the developing world are pushing their way towards a standard of living defined by the industrialized nations of the west, following a path through massive deforestation and consumption of fossil fuels towards a consumer utopia that is absolutely unsustainable, but also irresistible. While the version of Chinese cuisine exported by its emigrants is a global favorite, in China itself gastronomes can’t seem to find satisfaction without boiling dogs alive or cutting the fins off sharks to allow them to slowly bleed to death as they circle like the Bismark, unable to swim, to the bottom of the dying oceans. The oceans, of course, are filled with plastic, swept up by ocean currents into massive constellations of plastic particles that, if this were a Neal Stephenson story, would be aggregated into a massive, floating, plastic city, but in the real world end up breaking down into toxic chemicals that poison the waters and enter the food chain. Tiny pieces are ingested by microorganisms and end up in your sashimi; larger pieces choke the guts of albatrosses, killing for example one-third of the albatross chicks born on Midway Atoll.

Cops keep killing people. Or raping them.  Or both.  (Courtrooms aren’t safe either.)  While there’s some heavily agenda-driven debate on the demographics of the victims of police violence, the basic facts seem to be that while the majority of Americans killed by the police are white, this is because 63% of Americans are non-Latino whites, and for a single individual having an interaction with law enforcement, the odds of being killed by the officers is much greater for a non-white civilian (four times worse, says one study). Racism certainly exists within police forces, but even without it, the combination of a frustrating and dangerous profession, deadly weapons, and a near-impunity created by a culture of corruption, coverups, and silence would be enough to guarantee the regular recurrence of unjustified killings of civilians by law enforcement. Nobody knows how many Americans are killed by the police each year. There are 18,000 or so law enforcement agencies in the US, and they aren’t required to compile their data on officer involved shootings. Of course, they don’t want to do so. They don’t want to be subject to the scrutiny that would challenge the power which they enjoy. And power corrupts. It is known.

Understandably sick of being killed by the police, some people have been taking to the streets in protest, others in riot. The peaceful protests are cheerfully ignored by those in power, while the violent riots are condemned, though the events in Baltimore showed that if you burn the heart of your city to the ground, you can at least provoke the cops into putting on a puppet show of justice, charging the officers responsible for the death of Freddie Gray with murder…and then releasing each of them on bail less than that set for a single rioter. (Although this fact is perhaps less damning than it seems on the face of it; the officers aren’t likely a flight risk, and have much to lose by running rather than fighting the charges in court.) And they even fucked that up.  I’m not sure whether to take it as a sign that things are getting slowly better, or that they don’t change at all, when I was reminded that 45 years ago as of yesterday, National Guard troops killed four students at Kent State in Ohio. Two were protesting the Vietnam War, the other two were walking to class when they were killed.

Of course, not all cops are bad cops, and we should be grateful to those who perform this vital service. It was a traffic cop who gunned down a pair of would-be jihadis, attempted mass murderers armed with potentially very lethal rifles. The previously seemingly-paranoid fears that Islamic extremism is coming to the United States have been replaced by a grim realization that it is already here. The Muslim fanatics were attempting to shoot up a convention putting on a “draw Muhammed contest,” which can be interpreted either as a militant defense of freedom of expression, or as an intentional provocation of exactly the kind of violent response that it got. The organization putting on the event is the American Freedom Defense Institute, which sounds like either a fictional group from Team America: World Police, or like a new euphemistic name for the School of the Americas. They have been described as a hate group (by the controversial and extreme Southern Poverty Law Center), and certainly aren’t shy about their criticism of Islam and their defense of Israel. Whether they are in fact anti-Muslim or are instead merely opposed to extremist violence, the group’s views are Constitutionally protected speech. Even if the contest was actually intended to provoke just this kind of attack, it’s perfectly legal to hunt over bait in Texas if you’re hunting feral pigs. Certainly when I was growing up, no matter what my kid brother did to provoke me, if I ever hit him, I was the one to get in trouble, not him. Ironically it’s the same strategy used by Palestinian protestors, getting kids to throw rocks at Israeli soldiers to provoke the soldiers to shoot at them so they can point out to the world how brutal the Israelis are. It’s a dick move, but it works.

Of course, if Islamic extremist terrorists are finally putting the tip into Lady Liberty, the Muslim-majority world has been getting it head, shaft, and balls for a while now. It’s regrettably understandable that some, seeing the horror of the Islamic extremists, come to treat Islam as synonymous with evil, but in fact most of the victims of Islam extremists are their fellow Muslims. Every day it seems, Da’ish comes up with some new horror even more fucked up than the last: throwing homosexuals in Iraq to their deaths from tall buildings, then burning a captured Joradian pilot alive by roasting him in a cage, and decapitating just about anybody they can get their hands on. Also, they fuck goats. And donkeys. But only when they aren’t being provided with enough sex slaves from among the local population.

There’s no happy ending here, no feel-good wrap-up to make the absolute horror of the world a little more tolerable. There’s nothing to do but look for some nepenthe to dull the sensation, to feel it a little less. Maybe you drink, because, as Bukowski put it, “When you drank the world was still out there, but for the moment it didn’t have you by the throat.” Or you go to the movies. And then, just trying to hide in the dark and forget it all of a couple of hours, you get all bent out of shape because Iron Man cracks a weirdly anachronistic rape joke. Because it’s impossible to have any sense of perspective in this world of fire and death, impossible to ignore the fact that when you stub your toe on the way to the gas chamber it still hurts.

Emotional Landscapes.

January 12, 2015 · Print This Article

Guest post by Lise Haller Baggesen.


Jetlag is the Devil’s work!

Or is it a First World problem?

First World problems are the Devil’s work and jetlag is the hands-on reminder that in this day and age it is never really enough, if at all possible, to be in one place at a time, when you can be all over the place.

A yuletide melt-down with your sister will tie you down claustrophobically to the here-and-now, where this house (or indeed country) is not big enough for the two of you, and have you gasping for a breath of fresh air. Luckily, on this crisp boxing-day morning, your muddy Heimat was transformed to a magical winter-wonderland, located somewhere between a secular Caspar David Friedrich and a Thomas Kinkade you can believe in. You are here now. On a cross-country train-trip with the seats across the aisle from yours occupied by a middle-aged couple with Down’s syndrome. She is wearing a sequined sweatshirt with leopard motif very similar to something you recently saw in Kenzo’s fall collection online, and he is the voice of reason as he is giving commentary on the trip:

It is really cold, it is freezing –it is below freezing. Look at the trees outside, aren’t they pretty? Look how it is hanging from the trees. It was a good enough Christmas, good food. It was lovely, but now I am tired. You must be tired too, you should rest; we had an early start and we will be there soon enough. Just rest now. Isn’t it nice?


With this buildup, Olafur Eliasson’s Riverbed, at the Louisiana Museum of Modern Art (in Humlebæk just north of Copenhagen) cannot but disappoint –and yet it does. Traversing through the entire south wing of the museum, Eliasson walks 10.000 men, women and children all the way to the top of the hill and all the way down again. And when they were up they were up, and when they were down they were down, and when they were halfway up they were neither up nor down.



In real time, this hotly anticipated merger of nature as culture and culture as nature, of museum mystique and Iceland experience (or vice versa) is like Kate Moss up close: sexy and photogenic, but ultimately too thin and too shallow and too readily commercialized –the perfect extension or backdrop to the vastly expansive collection of sleek Scandinavian design objects in the museum shop. Nordic Light as commodity.

In another part of the exhibition we are given the illusion of a behind-the scenes look. Here, Atelier Eliasson’s geometrical models are laid out in tasteful abundance; hexagons and dodecahedrons, spheres and pyramids in various stages and finishes are bathed in amber light, to theatrical effect.


As we admire the display, my long time friend Lars (the sweet Swede) conspiratorially whispers in my ear an anecdote of how Eliasson politely declined the proposed budget for a project for AROS (Museum of Contemporary Art in Aarhus); this super model does not get out of bed for 2 million kroner!

Eliasson instead suggested they called him back when they got together the funds for a rainbow panorama on the roof…which they did and the results were truly double-rainbow-all-the-way-across-the-sky motherflippin’ awesome – and this off course both is and isn’t why we are here today—we want more!

Still it is smugly satisfactory to see how Eliasson is cut down to size in the museum’s Kids Corner. Here glue guns, paper cones, and wooden sticks are lined up for one and all to create their own Eliasson for the Christmas tree, like the workshop of a scientifically ambitious Santa.

In summary, the exhibition does exactly what it says on the box; yes, it radically alters your experience of the museum’s architecture and yes, it ambitiously challenges the museum as site and brings it back to its original narrative as a walk in the park. But paradoxically, there is nothing you can learn here you couldn’t have learned from the privacy of your own home, experiencing the work second- or third-hand. There is no song of your self to be sung on this stage –only Eliasson’s boastful, tinny earworm of the artist as brand.


How different and deep in contrast it is to leave the Riverbed and delve into the nether regions of the museum; a subterranean catacomb, which—for a moment that lets forever be—is transformed into a life-affirming mausoleum containing the oeuvre of Paula Modersohn-Becker.

Everything is right here; from early academic studies—some a little heavy-handed or earnestly clumsy, others almost a caricature –to the self-assured work of a grown woman who has found her place in the world. These were unfortunately to be her last, as she died from an embolism at the tender age of 31, less than 3 weeks after having given birth to her first child, a daughter. A tragedy, and all the more so as this was a life event she had both anticipated and preemptively celebrated in her body of work. But let us not skip to the end quite yet.

At 16, she writes to her parents from England, about the St. John’s Wood Art School: “I shall have lessons there every day from ten until four. At first, I shall be only drawing, beginning with very simple arabesques and other designs. If I progress, then I shall make charcoal sketches after Greek plaster casts […] If I advance further, I shall begin drawing and painting from live models.”

With this simple program she sets herself a task, which she follows trough with devotion and bravura. Modersohn-Becker’s lifework, as a fully equal member of the artist’s colony in Worpswede, is remarkable in more ways than one. Her traveling to Paris on the New Years night between 1899 and 1900, her pioneer work as the first female artist to paint the female nude (including several nude self portraits), and her untimely death, is the stuff of myths.

But more impressive is the work itself. Not for its monumental scale or dazzling visual effects: the formats she administers are modest and never larger than life. Her palette is muddy as the northern European landscape from which most of them hail, and her brushstroke fat and fuzzy as if she is almost sculpting her paintings rather than painting them – or perhaps just pulling them out of the clay and pushing them back in – in one simple, matter-of-fact, gesture.


The self-portraits –though both peculiar and provocative in their time—are showing her neither as whore, nor holy. She is simply there, present, with her mental and bodily functions intact and fully alive. An important source of inspiration is Egyptian mummy portraits, which she studied in the Louvre and whose oblong format and frontal view she often employs—as if to remind us that in the midst of death we are alive. A longish amber necklace with large oval beads is a recurring motif that she paints in the same impasto ochre as the flat circular disk of her own iris, because they are both part of the same eternity. In painting after painting, her fat, terse, brushstrokes drag and push our own eyeballs around, as we follow their trail across the barren canvas and her own gaze as she travels across Europe.

She paints women and children first, not unsentimentally –because what would be the point of that? — But with no false modesty either: unflinchingly and always at eye level. Suckling babies find the teat with the unwavering conviction of instinct and all is in the world.


With her willing- and able- bodied being in and of this worldly world –a worldliness that combines the two meanings of the word and is both cosmopolitan and sophisticated as well as concerned with the earthly, terrestrial and mundane repetitiveness of this mortal coil— Paula Modersohn-Becher’s life work is not only the perfect antidote to the spectacle of Eliasson’s five-minutes-in-Iceland, but also to our jet-lagged existence. It is a poignant reminder that wherever you go there you are and you take yourself with you. Nowhere else but right here and right now could you get over yourself and make right by your sister, or could you be eye to eye with an amber oval disk that is both a smear of ochre paint and at gateway to your soul.

Lise Haller Baggesen left her native Denmark in 1992 to study painting in the Netherlands. In 2008 she relocated to Chicago with her family. 
In the meantime, her work evolved from a traditional painting practice toward a hybrid practice including curating, writing and immersive multimedia installation work. Her first book “Mothernism” was published by Poor Farm Press and Green Lantern Press in 2014.

Becoming The Successful Artist

January 24, 2014 · Print This Article

Just over 6 months ago, after 8 years of being a practicing contemporary artist, I graduated with my MFA. Though I knew my post graduation time would be full of unexpected ups and downs, and the struggle would be trying, I still had little idea of what it be like. Here I am with my degree, job hunting, making work and participating in the arts community like I knew I would, but there were a lot of things I was unprepared for. One of those things is just how shocking, depressing, uplifting, relieving, trying, exciting, lost, hopeful, and full of opportunity it would all feel. I know I’m doing well and trying as hard as I can, but it’s still hard to keep afloat.

So I think what I’m writing about is something that is not openly talked about. How when grad school is over, even though you get a lot out of the experience, somehow you’re also hitting the reset button and starting the climb all over gain. It’s a love/hate experience. I was even hesitant to write about it because maybe if I admitted it hasn’t been that great it will reflect poorly on me. But I was also lucky to have mentors to talk to who know there are many like me, struggling to get by in a depressed economy where the rules just aren’t the same as they used to be. It seems like every job is something I am not experience enough for, or too experienced for, Its like being stuck on a bridge in a traffic jam. I’m going to a place I can’t get to, leaving a place I can’t go back to and the bridge is packed with cars all going the same way.

Many in our modern era look at the pursuit of art practices as selfish, and worthless endeavors. If you went through college as an art major, you’ve already had to face it over and over. The same friends and family that encouraged you to be creative, expressive and a follower of the obscure thing called “your dreams,” then cringe when you tell them you are an art major. You are told that you better make a back up plan, and you’ll never make a living as an artist. Yet I can’t help but wonder, perhaps if we felt more supportive of the arts there would be more support there. The student studying to be an entrepreneur is often told what a brave contributor they are while the artist students are often told what a mistake they are making. To get through it, no matter who you are, you had to face discouragement from friends, family, teachers, councilors, bosses, the government, and in general the world is just not invested in you. Yet despite continuous discouragement for this hugely impactful and important cultural force we call art, you became an artist.

Part of the reason this post-school transition becomes such a struggle is the ever-present stigma of a successful artist. What exactly is the benchmark for being successful as an artist? Others often remind me that the probability of becoming a famous artist is very low. I respond by saying I never want to be a famous artist; I want to be renowned in the art world for what I do in a way where my practice is accepted but not famous. On some level my disinterest in fame has to do with a paradox that affects an artists once they rise to a certain level of fame.

Once in my undergrad while taking an honors art class with Haim Steinbach we were critiquing work and he said we needed to keep experimenting and not get stuck in one way of making. He explained that we were lucky, because he was now what he called a “dead artist” and we were not. As he was a famous and active artist, at first this first seemed like an impossible thing to say. He explained that once your artwork is found, the public/art market begins to push you towards remaking that one piece you became famous for. That even when you want to explore different avenues, it’s very difficult as a famous artist to get shows, funding or acceptance if you aren’t in some way reproducing the work you have become known for. And this is the moment, he explained, when you become a “dead artist”. By achieving the fame his work became constrained to it’s own commodification, killing his practice and in turn his art.

Haim Steinbach froot loops 1, 2007  plastic laminated wood shelf; 2 rubber dog chews; 3 "Froot Loops" cereal boxes  28.25 x 62 x 13.5 in. (71.8 x 157.5 x 34.3 cm)

Haim Steinbach
froot loops 1, 2007

So what do we do when trying to forge our own way and build our careers after school? There are answers out there if you keep talking about it, and I am thankful for those out there who will discuss this openly. Understanding it takes time. You really are beginning again, but know that you are better off than where you began before. Plant seeds everywhere. You never know what is going to sprout and where it will lead. Say yes to everything you can, as you never know where it will go. Keep yourself humble, you’re not too good for any job. Keep yourself proud, no job you take is a shame to have as long as you are keeping your practice up. Keep moving forward every day. Make plans, improvements and goals. Know you are not alone and you are doing the right thing. And how do you measure your success? I’ve got to say when I take everything into account, knowing of course that success is a very personal reflection, I do think there is a clear way to know if you are a successful artist. That after all the pressure, aversions, and struggles you still keep making art. No matter how your practice changes, or where you are, or what job you have, or how stable you are financially, or wherever your life may lead: being a successful artist has nothing to do with that, but rather with you staying an artist. The continuation and advancement of your artwork and practice itself is the mark of a truly successful artist.


Special thanks for thier support and inspriation: Charles Rice, Mark Jeffery, Bradley Litwin and Haim Steinbach

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

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


A Few Instructive Interviews

January 3, 2012 · Print This Article

Bad at Sports first came on my reader radar for the interviews. Or, more precisely, the conversations. Beyond the accessibility of the medium, podcasting’s greatest contribution to broadcasting is the reintroduction of elastic time. Without the constraints of advertising and station breaks and schedules and all that, a program can last as long as it needs to. At least that’s the idea. I’ve found the long, wide-ranging interviews heard on this podcast and in others to be enormously instructive in thinking about the interview, in how conversational it can be and in what types of questions or prompts are most productive in elucidating the practices and personalities of those involved.

My feeling at this point is that a great deal of my output here at Bad at Sports will be interviews with artists working with moving images and in time-based media. In thinking through how I want these to function in the coming year, I’ve assembled a few smart, funny, strange or otherwise interesting interviews I’ve seen or heard in the last little while that have opened up the form to me a bit.

Felix Bernstein, a precocious 17 at the time of the interview, spoke with the late George Kuchar in 2010. I’ve experienced a lot of interviews with George and he’s always funny and sharp and excellently dodges whatever questions might seek to polish the stained, patinated scum skin of his cinematic cesspool. I am typically simultaneously in love with his responses and estranged by how they’re evoked. His best interviews were always those he performed on and by himself in his diary and weather films. Felix, though seems a nice foil for his quasi-serious, arch antics of a reclining George. This kid does well and it’s a nice glimpse into this period of his life.

Screening Room was a Boston television program that ran through much of the 1970s. Its host, Robert Gardner, is a filmmaker, visual anthropologist and academic who served as Director of Harvard’s Film Study Center for 40 years. The show featured long-form interviews with critical filmmakers of the period and is still a wonderful resource for learning about these makers and getting to know the texture of their personalities. Here is a short portion from his interview with Bruce Baillie. Or, at least, it’s something like that. The film shown is also quite extraordinary.

I think Charles Bernstein (no relation, at least to the best of my knowledge, to Felix) is simply terrific. I’ve long admired his poetry and his critical work in poetics is astounding both for its breadth and its depth. He’s a great critic in part because of how well he listens. He’s also very generous and enormously funny. As an interviewer, here are three examples of what he does well. First, from a series of commercials in the late-90s in which Jon Lovitz played the author of the Yellow Pages. I vaguely remembered these from when they initially aired but have gone back and enjoyed them tremendously. In this long cut, Bernstein’s mental agility and openness to the expansive nature of poetics enables the joke to take on a much grander scale. If only Lovitz could keep up.

Here, Bernstein interviews pioneering underground filmmaker Ken Jacobs on his excellent Close Listening radio show. My favorite moment is at around 25:40, when the weight of Jacobs’ Marxian humanism and empath(et)ic anxiety is revealed.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.


Finally, here is Bernstein in the video-maker role, performing seasick camera moves and asking the amazing Caroline Bergvall language questions. A button film, but a wormhole into longer discussions.

This is a weird one. Filmmaker and curator Tyrone Davies is on the news in Missouri, chatting up his traveling film festival and then…

This video has been seen almost two million times. Davies was able to parlay his infamy into a spot on the tosh.0 show on Comedy Central. Beyond all this, of course, Davies is a real artist and one who uses the medium of television in interesting and inventive ways. The way internet video and video commingle, antagonize and sometimes exist as one is the subject for a whole other post, but this is one in a long queue ripe for examination. Or at least “Like”ing.

Finally, here’s an interview of sorts with the great filmmaker, ethnomusicologist and lifer Harry Smith. This is from late in Smith’s life, but his ebullience, defiance and wit are still ferocious.

For whatever it’s worth, I cut this post in more than half, so let’s just call this Part One.