Call for Applications: Default 13. Art, Cities and Regeneration. Asia-Europe

Another short notice opportunity…

DEFAULT 13: Art, Cities and Regeneration.  Asia – Europe
Masterclass in Residence,
Lecce, Italy
17th -26th September 2013

DEFAULT 13 Masterclass residency in Lecce (Southern Italy) focuses on the role and perspectives of public art and its implications for the social, urban context as a tool for socio-cultural transformation.

Eighteen creatives and artists (9 from Asia and 9 from Europe), selected through an international open call, will be given the opportunity to discuss and try to answer the question “What is next in art, cities and regeneration?”

For ten days, participants will develop their research approach in intensive workshops and seminar sessions, they will expand their networks and exchange know-how with the support of a residency curator, and they will meet international leading curators, artists, art managers and representatives of cultural and artistic organisations from both Europe and Asia.

In attempt to deepen Western and Eastern perspectives on artistic and cultural practices, DEFAULT 13 aims to build a bridge between Europe and Asia involving artists and professionals from diverse cultural backgrounds within debates about culture and artistic production.

The Masterclass will increase the possibilities in which people can create art by sharing ideas and experiences in order to develop and nurture new collaborations and networks.

The Masterclass will increase the possibilities in which people can create art by sharing ideas and experiences in order to develop and nurture new collaborations and networks.

The works will take places at Manifatture Knos and other regenerated spaces in the city of Lecce, and at least one of the best artistic proposals arising from the project will be realised after the Masterclass.

The DEFAULT 13 project comprises: the DEFAULT 13 Masterclass in residence; associated international events; the production of artistic urban regeneration proposals; and a final publication.

The project is organised by Ramdom (Lecce, Italy) and Arthub Asia (Shanghai, China) in collaboration with Gasworks (UK), Rogue Art Asia (Malaysia), Made in Carcere (Italy), Manifatture Knos (Italy), Cultura21 (Denmark), the School of Critical Engagement (Denmark), PB43 (Denmark), Vessel (Italy), the Region of Apulia (Italy), the Municipality of Lecce (Italy)

It is presented with the support of the Asia-Europe Foundation (ASEF), Arts Network Asia (ANA) and Trans Europe Halles (TEH) as part of the programme Creative Encounters: Cultural Partnerships between Asia and Europe.

Deadline for applications 26 May 2013  [**NB extended to 6 June 2013]
Further information here.

[Source: Cultural Development Network and Ramdom]

For interest, Melbourne artist Anthony McInneny was a participant in the 2011 edition, DEFAULT 11

Research Workshop – Public Space and Commemoration

Quentin Stevens has forwarded notice of a free two day research workshop, Public Space and Commemoration, to be held in Canberra on 21-22 February. Further information below, including essential registration details.

(Watch this space for information about a related symposium to be held at RMIT University in Melbourne on 12 March 2013.)

Two-Day Research Workshop: Public Space and Commemoration

21 February  2013 (11am-5pm) and 22 February 2013 (9.30am-5pm)

in connection with the ANU Humanities Research Centre 2013 Visiting Fellowship Program’s Annual Theme: Cities, Imaginaries, Publics

Convenor: Quentin Stevens, RMIT University

Location: Humanities Research Centre, Sir Roland Wilson Building #120, ANU, Canberra

This workshop draws together contemporary research in the humanities, social sciences and the design disciplines which looks at the design, use and meaning of public spaces in the particular context of historical commemoration. In contrast to the conventional focus on the meanings that sponsors intend public memorials to convey, such analysis embraces everyday social life around memorials, as well as social practices of commemoration in everyday spaces, and informal, unofficial memorials. From the perspective of design, the symposium will explore how commemorative spaces are shaped through client objectives, competition briefs, juries, and wider planning frameworks. From the perspective of users, it will examine how social memories, meanings and identities are shaped within urban spaces, through commemorative practices and other narratives of collective identity, as well as informal everyday uses. These issues are particularly relevant to the everyday life and the form of Canberra’s own urban spaces, which are strongly influenced by the presence of both national and local memorials, particularly during the centenary of Canberra and the upcoming centenary of ANZAC.

The workshop will include formal presentations, discussion of a set of circulated readings, roundtable discussions, and a field trip to several Canberra memorials.

Speakers include:

  • SueAnne Ware, RMIT University: Memorial Camels: Design by Committee
  • Russell Rodrigo, University of New South Wales: Whose Memorial is it Anyway?: Re-Thinking Client-centred Design in Public Commemoration
  • Quentin Stevens, RMIT University: Memorial masterplanning in Berlin, London and New York
  • John Stephens, Curtin University: Memory, Forgetting and Trauma in Australian War Memorials
  • Julia Lossau, University of Bremen, Germany: Affirmation and Division: Shaping the Image of the New Gorbals in Glasgow
  • Shanti Sumartojo, Australian National University: Public art and the construction of national identity

Attendance is free, but all attendees must register in advance by emailing: emma.arnold@anu.edu.au

no later than Monday 11 February with the subject line MEMORIALS WORKSHOP

Registered participants will receive lunches and transport for the field trip and will also be emailed a short packet of relevant readings in advance of the workshop.
Late registrations may be accepted but those who register late will have to arrange their own catering and transport.

Questions about the workshop can be directed to: quentin.stevens@rmit.edu.au

This workshop is generously supported by the following:
Humanities Research Centre, ANU
Australian Research Council
RMIT Foundation International Research Exchange Fellowship
RMIT Design Research Institute

Outdoor Sculpture and Monument Conservation

Nicola Vance has passed on some information about a forthcoming workshop….

Preservation of Outdoor Sculpture and Monuments
Melbourne, 8-9 November 2012

For further information, registration form, and contact details, please see the event flyer (pdf).

The Objects Special Interest Group of the Australian Institute for the Conservation of Cultural Material (AICCM), with the generous support of the Gordon Darling Foundation, are seeking expressions of interest from public art coordinators, collection managers, and arts professionals commissioning public artworks, to attend a two day workshop in Melbourne led by Katharine Untch, senior conservator, ARG Conservation Services, San Francisco.

The workshop is designed primarily for collections managers, public art administrators, and individuals responsible for commissioning, maintaining and administering public art collections. Artists, fabricators, conservators and other individuals who work with public sculpture and monuments are also welcome to attend on a space-available basis.

This two day workshop presents the broader preservation issues of commissioning new works of art, monitoring conditions, developing a maintenance program, health and safety, and contracting for conservations services.

NB places are limited to 60 and there is a course fee of $500 (incl GST).

To register your interest in attending,  EOIs should be sent using the form provided to Helen Privett at Museum Victoria by 27 July 2012.  Successful participants will be notified by 31 August 2012.

For experienced conservators, I see that there is also a more advanced course to be conducted by Katherine Untch in Melbourne following this one.

This event reminds me that AICCM have had a strong national profile in developing and communicating procedures for managing outdoor artworks. In the 1990s this was the particular mission of the Sculpture Monuments and Outdoor Cultural Materials (SMOCM) Special Interest Group, who conducted national conferences and seminars advocating for the importance of caring for, surveying, and documenting public monuments and other cultural objects.

SMOCM drew upon the examples of international programs such as Save Outdoor Sculpture!, a joint program of Heritage Preservation (US National Institute for Conservation) and the Smithsonian American Museum of Art, and the National Recording Project of the UK Public Monuments and Sculpture Association, both of which are still in operation…

Miscellaneous conferences, workshops

Some upcoming workshops and calls for proposals for exhibition, conference papers, panels and workshops….

Going Public: Telling It As It Is

European Network of Public Art Producers
22-24 March 2012, Bilbao

Going Public is a three-day symposium aimed at exploring storytelling as a mode of production and reception of public art. It features a series of lecture performances and artist commissions spread throughout the city of Bilbao (including interventions in local newspapers by Martha Rosler and Phil Collins; a shop window exhibition by Alex Reynolds; projections by Itziar Barrio; and the local TV broadcast of a video by María Ruido).  Going Public is accompanied “by a closed network meeting in Vitoria-Gasteiz that draws together selected professionals in the field”.

Further information: here

(Yes, THIS week, in Bilbao, so perhaps you’re not ready to pack your bags today? Organisation, website, symposium and associated events are worth keeping an eye on…. likewise with the following:)

Moving in Three Dimensions: Re-writing the Objects and Histories of Sculpture

11-12 May 2012
The Courtauld Institute of Art Research Forum, London

Works of sculpture and the places in which they are viewed are more prone to adaptation, transformation, damage and loss than are any other categories of object. Sculpture is frequently intended to be inseparable from the spaces and locations it occupies. In consequence, its removal is often traumatic and recorded in damage to both object and context. The adjustment of buildings, rooms and public spaces to accommodate relocated objects, whether for the purpose of public display or private ownership, results in shifts in the physical status, the implied meaning and the social perception of both the moved object and its altered situation.

However, whilst the removal of sculpture from its intended context changes the thing itself, the space it once occupied and the place into which it is deposited, the ruptures and dislocations associated with such events also provide opportunities for detailed technical examination, the retrieval of previously inaccessible views and the creation of new and unexpected juxtapositions of things and ideas. The new readings that are opened up by such opportunities can relate both to the histories of individual objects and their making and to the wider social, religious and political narratives of which they form a part. In these narratives, the traces of the removal and relocation of sculpture are often the only physical vestiges left of the events they describe.

Proposals are invited for papers which address some of the motivations for changes to sculpture and its contexts, their outcomes and the new approaches to writing their histories which they call for. In particular, art historians, curators, and conservators are invited to contribute to sessions focusing on relocation, redisplay and reclassification.

Call for paper proposals due: 23 March 2012
Further information and detailed call for papers: here.
[Source: Melbourne Art Network]

Cities Methodologies 2012

Slade Research Centre, University College London
4-7 July 2012

Cities Methodologies invites proposals for exhibition and events from researchers from any discipline who are developing and using innovative methods to understand cities and urbanization.

Cities Methodologies aims to promote cross- and inter-disciplinary work, and to showcase recent research on a wide range of cities. Visitors to Cities Methodologies encounter diverse methods of urban research in juxtaposition‚ from archival studies to statistical analyses, practice-led art and design work to oral history, writing, walking, film-making and photography.

This year we are particularly‚ though not exclusively‚ interested in receiving proposals related to the themes of:

  • Collaborative/public methods for urban research
  • Mega events and urban change
  • Housing and dishousing

Deadline for Proposals: 5pm (UK), 1 May 2012
Further information and submission forms: here

Creative Communities 3 Conference: Risks & Possibilities

26- 28 September 2012, Gold Coast, Australia

The third Creative Communities conference will be hosted by the Griffith Centre for Cultural Research at Surfers Paradise, on the Gold Coast, Queensland.

Proposals are invited from scholars, arts & cultural workers, designers, urban designers, architects and policy makers interested in presenting oral papers, presentations, interactive workshops, panels or roundtable discussions on the following Conference themes:

1. Creative Communities At Risk
Perceptions of societal danger- aversion and subversive behaviour; Individual versus collective risk and possibility; Between invisibility and presence; Laws and regulations and their impact or influence on creative communities

2. Itineraries of engagement
Creative Practice and cultural indicators in policy making; Idealization and leadership; Professional versus hobbyist perspectives of creative practice; Public events as catalysts for community; Observing and evaluating participation in creative engagement; Possibilities of participation- gatekeepers

3. Transcultural dialogues
Emergent global creativities; Community, creativity and post transnational trauma eg, 9/11- Bali bombing, London ‘youth’ riots, Black Friday Victorian bush fires; Cultural tourism /mis-tourism; Asia Pacific heritage dialogues

4. Politics of networks
Digital social networking; Politics, kinship, and the role of communities /Creative geographies, ecologies and networks; Migration of skills and experience; Flexible and local forums and networks, complexity in varied contexts; ‘Hard-to-reach’ membership cohorts

5. Diversity and inclusion: Creativity as a catalyst for reconciling difference
Social Sustainability and the creative artist: socially responsible creative commitment; Personal Development as a liberating force: confidence building in community sub groups; Collaboration: reliable interdependence: links through non-political non-biased creativity; Transparency and ownership: who owns the project; Old and skilled/young and skilled: forging links and breaking down generational barriers

Deadline for proposals: 1 June 2012
Further information and submission guidelines: here

Evaluating public art

One of my longstanding interests in public art is the question of evaluation – how is/should it be evaluated, and how does public art fit within the more general discussions that can be found in academic research journals about cultural policy and cost-benefit analyses of funding culture.  I hope to write something about this later this year, but in the meantime, many thanks to Lachlan MacDowall and Marnie Badham at the Victorian College of the Arts for the following links. (Both are currently engaged in the ARC funded project, “Towards an integrated evaluation framework for intrinsic and instrumental benefits of community-based arts”.)

The workshop organisers write:

“This workshop presents a new set of guidelines and eco-sustainability criteria for the analysis of public art. It will introduce the Curating Cities database, which aims to provide definitive analysis of public art for artists and art commissioners. The workshop will outline opportunities for art writers and researchers to contribute case studies to the database, peer reviewed by an international editorial board.”

Curating Cities is an Australian Research Council ARC funded project launched in late 2011 and led by Jill Bennett, Richard Goodwin, and Felicity Fenner (UNSW); partnering with City of Sydney, Object: Australian Centre for Design, Carbon Arts, and University of Cincinnati.

The project aims to investigate how and under what conditions public art interventions promote sustainability, developing an analytical database of national and international public art projects to guide the work of public art managers, as well as curators, artists and critics.

PS

I’ve belatedly added some images of Angus’ Grow Your Own to my previous post…