TRAINIG /WORKSHOP

11-12 March 2009

Telavi, Telavi State University of Iakob GogebShvili, 1 University Street)

ACNP (Arts and Culture Network Program) Open Society Institute Budapest,
OSGF local office,
Students International Consultations Center , Telavi
Training – workshop address: Telavi State University of Iakob GogebShvili,
1 University Street

Trainer: Ana Riaboshenko (ACNP mentor in Georgia ,TRAM Foundation, President/artist, curator)
Introducers: Nino Kiknavelidze (OSGF, program coordinator)
(OSGF, manager)

Objectives and approach

• To train OSI (ACNP) potential grantees in conceptualizing and writing better project applications and their professional implementation
• To hold interactive workshop

11 March
14:00-16:00

Defining the Grant

• ACNP introduction to the public
• The program priorities
• ACNP potential grantees, NGO’s and Individuals
• Consultation possibility
• Regional trainings announcement

• Project work
Application form topics

• Writing principles
• Idea & concept
• Distribution of duties
• Work plan, timetable
• Budget
• Narrative report

12 March
13:00-16:00

Practical work
• Filing form (in English)
• Analyzing filed forms

---

Informational TRAINIG , Tbilisi

5 March 2009
17:00- 19:00

ACNP (Arts and Culture Network Program) Open Society Institute Budapest,
OSGF local office, address: Tbilisi, 10 Tchovelidze Street

Trainer: Ana Riaboshenko (ACNP mentor in Georgia ,TRAM Foundation, President/artist, curator)
Introducers: Nino Kiknavelidze (OSGF, program coordinator)
(OSGF, manager)

• The ACNP introducing to the public
• Program priorities
• Potential grantees, NGOs and individuals
• Consultations possibility
• Application form topics
• Regional trainings announcement

For detail information contact
The local office coordinator
Nino Kiknavelidze
+995 32 25 05 92 +995 32 25 04 63 email : niniko@osgf.ge

Or ACNP mentor in Georgia
Ana Riaboshenko
+995 32 505081
+995 99 251393
ariaboshenko@tram.ge
tram@tram.ge

 

P R A G U E B I E N N A L E 4 opennings May 14-15-16, 2009 Karlin Hall, (Thamova 8- Pargue 8)

Nadace Prague Biennale
Budecska 3
Praha 2
120 00
Tel: +420 222 512 376
info@praguebiennale.org

Flash Art

The World’s Leading Art Magazine
Via Carlo Farini, 68
20159 Milano
Tel: +39 (2) 688 73 41
Fax: +39 (2) 6680 12 90
www.flashartonline.com

P R A G U E B I E N N A L E 4
Directors and General Curators: Helena Kontova and Giancarlo Politi
General Editor / Curatorial Advisor: Nicola Trezzi

Expanded Painting 3
Conceived by Giancarlo Politi and Helena Kontova

Individuals
Curated by Giancarlo Politi and Helena Kontova
Artists: Salvatore Arancio; Alesandra Ariatti; Carlo Bertocci; Mauro Bonacina; Rossana Buremi;
Valerio Carrubba; Alberto Guidato; JEBE (Adriana Jebeleanu); Marco Salvetti; Alessandra
Mancini; Cecilia Sergi.

Short List 09: 12 Painters from Czech Republic
Curated by Daniel Pitin
Artists: Josef Bolf; Sylvie Brodi; KW; Hynek Martinec; Jan Merta; Jitka Mikulicova?; Alice
Nikitinova?; Jaromir Novotny; Robert S?alanda; Vladimir Skrepl; Pavel Smid; Veronika Holcova.

Dresden – Prag / Prag – Dresden
Curated by Daniel von Wichelhaus
Artists: Paul Barsch; Tilman Hornig; Bernd Imminger; Johannes Makolies; Martin Mannig;
Stephan Ruderisch.

Staging the Grey: 12 Romanian and Hungarian Painters
Curated by Mihai Pop in collaboration with Jane Neal
Artists: Marius Bercea (RO); Zsolt Bodoni (HU); Andrei Campan (RO); Radu Comsa (RO); Oana
Farcas (RO); Adrian Ghenie (RO); Cantemir Hausi (RO); Victor Racatau (RO); Serban Savu (RO);
Mircea Suciu (RO); Peter Sudar (HU); Alexander Tinei (MD/HU).

Italy: No More Than a Point of View
Curated by Angelo Mosca
Artists: Manfredi Beninati; Luca Bertolo; Lorenza Boisi; Gianluca Di Pasquale; Pesce Khete ;Andrea Kvas; Alessandro Roma; Michele Tocca.

South East B(l)ooming
Curated by Primo Marella in collaboration with Eleonora Battiston
Artists: Annie Cabigting; Alfredo Esquillo; Nona Garcia; Geraldine Javier; Haris Purnomo;
Emmanuel Santos; Yasmin Sison; Wayan Suja; Wire Tuazon; Ronald Ventura; Entang Wiharso;
Gede Mahendra Yasa.

Painting in Korea
Curated by Wonil Rhee
Artists: Jonghyun Ha; Bongho Ha; Kyungah Ham; Yeondoo Jung; Un Kang; Kira Kim; Kwangho
Lee; Gilwoo Lee; Sungsic Moon; Kibong Rhee.

Hyperlucid
Curated by Domenico Quaranta
Artists: Alterazioni Video; Gazira Babeli; Shane Hope; Miltos Manetas; Gerhard Mantz; Eva and
Franco Mattes; UBERMORGEN.COM; Damon Zucconi.

China Box
Curated by Cecilia Freschini
Artists: Cui Jie; Li Chao; Li Qing; Li Wei; Qin Chong; Qin Qi;Tu Hongtao; Wang Guangle;
Wang Yabin; Wang Yaqiang; Xue Jun; Ye Yongqing.
Fancy Success
Positions in a Young Polish Painting
Curated by Beata Nowacka-Kardzis
Co-curator: Lidia Krawczyk
Artists: Basia Banda; Agata Bogacka; Tymek Borowski; Ewelina Chrzanowska; Lidia Krawczyk &
Wojtek Kubiak; Przemek Matecki; Bartek Materka; Karol Radziszewski.

One Hundred Years: Endogamic & Exogamic Pictorial Practices in Mexico
Curated by Alessandra Poggianti & Juan Pablo Macias
Artists: Carlos Arias; Hernain Bravo; Ruben Gutierrez; Rene Hayashi / SIIRE collective; Marcos
Kurtycz; Alejandro Osorio; Sebastian Romo; Guillermo Santamarina.

From Individ to DVD: Young Georgian Painters
Curated by Nana Kirmelashvili and David Andriadze
Artists: Sopho Chkhikvadze; Zura Gikashvili; Michael Gogrichiani; George Kevle; Ketevan
Logua; Lado Pochkhua; Maka Razmadze; Ana Riaboshenko; Andro Semeiko; Kote Sulaberidze;
Maia Sumbadze.

Albania & Kosovo
Curated by Artan Shabani
Artists: Driton Hajredini (KS); Ervin Hatibi (AL); Dalip Kryeziu (KS); Alfred Mirashi (AL); Alkan
Nallbani (AL); Artan Shabani (AL).

http://www.praguebiennale.org/

 

 

Central European University Department of Public Policy Adds a Cultural Policy Stream

The CEU Department of Public Policy offers a one-year MA in Public Policy with an optional specialization in the field of cultural policy. Since its launch in 2004 the department attracted a high number of applications from students in the CEE/FSU region and around the world. Graduates from the program have become government officials and policy experts in their home countries. Many of the students trained in the MA in Public Policy program are early or mid-career professionals who already bring professional experience to the program. The MA program offers different areas of specialization to its students. Upon successful completion of a particular stream of specialization students receive a diploma supplement to their MA degree.

The Cultural Policy Stream

Cultural policies of national states, and later of regions and cities, have evolved in Europe after World War Two as part of comprehensive public policy articulation in many other fields, including health, housing, education etc. and reflected the emancipation program of the welfare state in Western Europe and the common ideological framework in the former communist countries of Central and Eastern Europe. Huge political and socio-economic changes sweeping across Central and Eastern Europe since 1989 have only in a limited way affected the cultural policies of post-communist countries in transition. Across Europe, the present dilemmas of cultural policy reflect the key challenges of public policy, thorn between the traditional prerogatives of the national state and European integration, national interests and forces of globalization, government regulation and the reliance on the market, and such major new issues as intensive migration, ICT revolution, and a prominent policy making role of the cities and regions. In this stream culture and cultural policy are considered not as a self-enclosed public sector but in a transversal perspective, thus closely connected with other aspects of public policy making, in education, urban development, foreign affairs, integration of the migrants, cultural diversity and tourism.

The aim of the stream is to provide the understanding of cultural policy making, its protagonists and their interests, and to examine the broad palette of policy instruments applied, their rationale and effects, in a strong comparative perspective. Students are expected to analyze the policy interventions of public authorities against the needs and expectations of culture professionals and audiences and to evaluate them in relation to accelerated cultural, political, technological and economic changes.

 

Credit requirements for the one-year Master's Program in Public Policy (MA)

34 course credits; 6 credits master thesis; internship.

 

Courses specific to the Cultural Policy Stream

Stream students are required to complete a minimum of 6 credits in courses on cultural policy.

 

Financial aid

Students of all nationalities can apply for CEU financial support and a limited number of tuition waivers.

For more information please visit: http://www.dpp.ceu.hu/admiss/aid.htm

 

Center for Arts and Culture

In addition to the courses offered in the context of the MA in Public Policy, the CEU Center for Arts and Culture provides further academic synergies to students bringing in artists, experts and distinguished scholars for guest lectures, debates, screenings, performances and conferences in the field. The center also offers connectivity with the rich cultural infrastructure of Budapest and contacts with European cultural networks, observatories and consortia.

For more information please see http://www.cac.ceu.hu.

 

Open Society Institute Arts and Culture Network Program (ACNP)

This program operates from the OSI Budapest office and focuses on Eastern Europe, Caucasus and Central Asia, and also covers the cultural component of the OSI Roma program. ACNP provides the CEU DPP cultural policy stream students with opportunities to work as interns in the cultural organizations receiving OSI grants. For more information please see http://www.soros.org/initiatives/arts

 

Visiting and Exchange Students are welcome

Courses in the field of cultural policy are also open to visiting students. Their completed coursework will be recognized in their transcripts at the end of their studies, and the credits earned at CEU may be counted towards their final degree at their home university. Visiting students typically apply for one or two teaching terms and have the same opportunities as regular CEU students to get involved in the academic, professional and social life of the department and the university.

 

Application

In addition to meeting the general CEU admission requirements (http://www.ceu.hu/admissions_apply.html) applicants to DPP cultural policy stream should submit one sample of written work demonstrating their analytical and argumentation skills in English, as well as a 500-word statement of purpose outlining their interest in the stream of specialization the candidate is applying to.

 

Deadline of application: March 16, 2009

On-line application form: https://apply.embark.com/Grad/CEU/65/

Inquiries: Ms. Klara Papp, MA& PhD Coordinator; email: Pappk@ceu.hu phone: +36 1 235 6114.

Cultural Policy infosheet 2009-10 FINAL DEC2008.doc

 

Call for Submissions - /seconds 10

The Dream Machine, Useless Beauty and Fuzzy Logic: correlations of violence
/seconds, the online journal of contemporary art and its research

Leeds Metropolitan University
Faculty of Arts and Society
School of Contemporary Art and Graphic Design
Civic Quarter
Leeds LS1 3HE
UK
Phone: +44[0]7986084697
Contact: executive editor Peter Lewis
submissions@slashseconds.org

www.slashseconds.org

/seconds issue 10
new deadline for submissions
January 31st 2009
Submissions send to:
submissions@slashseconds.org or plewis@inbox.com

ISSUE 10: Useless Beauty and Fuzzy Logic: correlations of violence

We invite contributions of visual, aural and written material in open responses: on the abandonment of correlation as a necessity of art's contingency. Thought and action are together 'useless' if incapable of escaping the invisible and severe circle of 'correlationism' in which they inevitably conform to another use. Terms 'use' and 'useless' are in a relational pact. Paired in contradiction, not opposed in meaning, from want of a practical consistency to and from authenticity, something like the 'for-me' and the 'in-itself' appears 'cold', fatal. The co-relation applies itself like glue to a paradox of inauthenticity. The beauty of the unthinkable is violent revolution, but revolution is itself unthinkable. Both statements are helpless, contingent of fuzzy logic and the inverse necessity of beauty.

Some quotes and remarks

'We wanted to be radical, brave, pioneers; we considered ourselves to be a vanguard. We over estimated ourselves ridiculously, indulging in the illusion that a revolution was thinkable in the prosperous Federal Republic. In this light we were self-timers who acted cut off from reality in a void. We lived a sort of armed existentialism. ' (SelbStausloser, Astrid Proll, Hamburg, March 1998)

'L'Art est inutile' Ben Vautier; L'Exposition est inutile', Marion Pipper

(from the catalogue L'Art est inutile - Avantgardekunst/Arte D'Avanguardia 1960-1980 curated by Wolfgang Fetz, Gerald Matt and Marion Pipper, Bregenzer Kunstverein, Bregenz; AR/GE, Kunst Galerie Museum, Bozen; AR /GE Kunst Galleria Museo, Bolzano 1992-1993)

'The photographs we took in Paris are rarities. In the late 60s everything for us was geared towards political intervention; art was considered to be 'bourgeois' or suspicious. Aesthetics were unimportant, what mattered were content rather than form. The pictures from Paris look like holiday snaps. At the same time they document the farewell to legality and the assumption of an inconspicuous normality. Gudrun had her hair cut and dyed, while Andreas adopted cropped hair and pressed trousers. Not much later they took the cover names 'Hans' and 'Grete'. '(from Baader Meinhof, Pictures on the Run 67 -77; SelbStausloser, Astrid Proll, Hamburg, March 1998)

'(...) of Jeff Koons, the post-therapeutic Frankenstein, for whom the solution to the Frankenstein problem lies not in trying not to be Frankenstein but in the social power acquired when one says 'I am Frankenstein and I am not angry'. In Koons' world there is no solution because there is no problem - or rather the problem is fun.' (The De-Frankenstein Option, from the Velvet Grind, David Robbins)

Helpless Statements

Jasper Johns interviewed by David Sylvester had suggested that it might be more 'useful', concerning the process of making his work to surrender to 'helpless statements' rather than aspiring to intentional ones, and that one's energy or time should be 'wasted' in achieving a state where something can no longer be avoided or resolved: the infinitely subjective 'for-me' experience and at the same time, the fuzzy logic of the objective thing 'in-itself'. In Artforum October 2008 Nick Mauss discussed this 'in-itself' of painting as a subjectively weird and embarrassing encounter, specifically citing the politicised practice and paintings of Jochen Klein. Landscapes without geneology, heterotopias that call into being something that has not yet existed, which cannot exist, yet as formal statements, in contradiction, as something thinkable, to be done. What is not a contradiction in Klein's work is the critical-political framework versus the pleasure or emotional register of painting. (see Abandoned Painting, Nick Mauss, Artforum, October 2008)

Useless Beauty

It might be useful to read again of the failure of an idea of beauty in political insurrection and the manifesto; from the perspective of violence in the persistence of religion, and the synthetic 'emotions' of entertainment, as related in the writings of Guy Debord, or Gilles Dauvé (Jean Barrot). Is it not ideology, the 'dream machine', that moves the progressivism of the avant-garde's manifesto, retrospectively, into the free market, so as to synthesise (normalise) an ahistorical process? 'This democracy of virtues - what I term horizontal culture - is the basis of cultural life of modern America, and it's a fascinating and radical concept.' (David Robbins, The Velvet Grind)

Fuzzy Logic

'The Future Will Be...' (compiled by Hans-Ulrich Obrist) * rounds up futures [infinite] to a 'correlationism' recomposing totality as relative equality, and vice versa. As a fantasy and a wish-fulfilling prophesy, the fuzzy 'future' is engineered as trivia. A 'McDonaldised' world, as J.G. Ballard had unapologetically put forward, requires no further need of manifesto's 'difficult' thought or resistance since it is already perfect and not angry. Hence the emotional closure on the absolute of beauty, or unthinkable revolutionary level of liberty is finally guaranteed by filling in every possible alternative; since by listing (simplifying and amplifying) all its components in the form of an ideology (the mass media), thinking 'in-itself' methodically brackets any unthought necessity of contingency. And you get a free sticker.

Correlation of Violence

As such, Meillassoux will write: 'we are trying to grasp the sense of the following paradox: the more thought arms itself against dogmatism, the more defenseless it becomes before fanaticism' (AF, 48). We could add, that the simplification / amplification of emotion / meaning also integrates the 'fun' content of populist myth and its moral 'Axis of Evil', 'terror' et cetera as the mass constituency of hyper-media. Philosophy which is born with the rejection of myth now finds that it must suffer the proliferation of superstition, religious fanaticism, of popular ideology everywhere due to its own internal constraints. 'The question of whether or not we can think a world without thought is thus the question of whether or not philosophy is possible.' (from Correlationism and the Fate of Philosophy, Posted by larvalsubjects June 13, 2008 at 7:52 pm)

* Hans-Ulrich Obrist, 'The Future Will Be...' is published by M/M, Paris. The edition is limited to 600 copies, each of which is numbered, signed by Obrist, stamped by M/M and includes your own sticker.

/seconds is an online publishing project edited by Peter Lewis and designed byGraham Hibbert. The project acknowledges support from Leeds Metropolitan University. A new issue of /seconds will be published every four months and will include text, visual material, moving image, sound and net-work. General inquiries should be made to the editor, plewis@inbox.com

/seconds 10: ISSN 1751-4134 will be published in February 2009

 

 

The United Arab Emirates will establish the UAE Pavilion at the 2009 Venice Biennale, making it the first Gulf nation to participate in this pre-eminent cultural event.

The UAE has appointed the respected Iranian professor, filmmaker and critic Tirdad Zolghadr (7th International Sharjah Biennial; Kunsthalle, Geneva; Cubitt Gallery, London). The UAE Pavilion will be designed through a partnership of Rami Farook (founder of the UAE’s Traffic design gallery) and the young Belgian architectural collective of D’haeseleer & Kimpe & Poelaert, known for its collaborations with visual artists.

The 2009 Venice Biennale will open on 7th June 2009, running through to 22nd November 2009. And UAE Pavilion is not the only surprise: also, the 53rd Venice Biennale will welcome other newcomers: Andorra, Gabon, Montenegro, Pakistan, Monaco and South Africa.

Further information:

La Biennale di Venezia

 

Bridge Art Fair New York 2009
Bridge Art Fair

The Waterfront
222 12th Avenue
Phone: +1-312-421-2227
Contact: Michael Workman/Chris Hudgens
info@bridgeartfair.com

www.bridgeartfair.com/newyorkindex.html

March 5 - March 8, 2009
Deadline to Apply :
January 17, 2009

DEADLINE TO APPLY FOR BRIDGE NEW YORK JANUARY 17; EXPANDED PRICING OPTIONS ANNOUNCED

Deadline for all applications TO Bridge Art Fair New York 09: January 17, 2009

In response to prevailing market concerns, Bridge has modified its floorplan to provide more affordable options for galleries seeking participation in the New York art fair market during Armory Show week, March 5-8, 2009.

'We are always happy to provide more ways for great art to find its market,' says Founder and Director, Michael Workman. 'Art fairs have become too expensive and in the current climate, it's important that we try harder to help galleries go further on less.' The final application deadline is January 17.

New plans includes the addition of a 100 sq. ft. 'Verge' section booth that, at $5,000, represents the most affordable rate of any art fair in New York. The 200 sq. ft. standard booth is now available for $10,000, and a premium booth size of 300 sq. ft., the most spacious booth ever offered by the fair, is now available at $14,000.

These new Bridge rates and booth sizes provide a way for exhibitors to access an audience in 2008 well in excess of 12,000 attendees, for the price of a single page ad in Artforum. Unlike magazine advertising, however, participation in Bridge ensures direct face-to-face encounters with some of the top collectors in America and around the world, as well as museum, private collection and corporate curators, and large numbers of the national and international art press.

Galleries are encouraged to apply using a newly modified application now available for download at http://www.bridgeartfair.com/newyorkapplication.html.

Bridge New York '08 will present more than 60 international exhibitors from such diverse locales as Austria, Canada, China, Denmark, Germany, Italy, Korea, the Philippines, Spain, Switzerland, the UK, and the United States.

DOWNLOAD APPLICATION

http://www.bridgeartfair.com/newyorkapplication.html

For additional information, please write to us at: info@bridgeartfair.com.

Verge booth: 100 sq ft, $5,000
Standard booth: 200 sq ft, $10,000
Premium booth: 300 sq ft, $13,000

ABOUT BRIDGE ART FAIR

Bridge Art Fair, the Independent International Exposition of Art and Visual Culture, is a transnational art fair organization currently staging events in Berlin, Miami, New York, London and Basel, Switzerland.

Bridge Art Fair currently presents a combined total of nearly 300 galleries and over 2,000 artists at four expositions throughout the year. Visitors will discover a truly global selection of contemporary work from every imaginable medium, including but not limited to painting, prints, photography, sculpture, installation, drawing, film, video, new media, and conceptual art. In the short time since the premier of Bridge Miami Beach in 2006, total sales of nearly $30 million and more than 100,000 visitors have confirmed Bridge as a leading voice in the global art market.

MEDIA CONTACT

For more information, interviews or to register for press credentials, contact our marketing department at (312) 421-2227 or email at marketing@bridgeartfair.com.

PRESS HIGHLIGHTS from Bridge NY08:

Artinfo.com:
http://www.artinfo.com/news/story/27236/relaxing-at-pool-bustling-at-bridge/
(from Artinfo.com)
Relaxing at the Pool, Bustling at Bridge
'…gallerists said Thursday's preview and opening night reception were packed, and they had the red dots to prove it.'

Armory Week in Review: A Scorecard
'It was a pleasure to welcome this Miami native to New York City, and to find it in an excellent venue…this was a solid first appearance, and I believe we can now regard Bridge as a regular on the New York fair roster.'

Artfacts.net: Interview with Michael Workman
http://www.artfacts.net/index.php/pageType/newsInfo/newsID/4049

Bloomberg Press:
http://www.bloomberg.com/apps/news?pid=20601088&sid=aPzuJybiA7JA&refer=muse

Artinfo.com:
http://www.artinfo.com/news/story/27193/armory-satellites-plus-three-minus-one/

 

OPEN STUDIOS
HISK / Hoger Instituut voor Schone Kunsten - Higher Institute for Fine Arts

Charles de Kerchovelaan 187a
B-9000 Gent - Belgium
Phone: +3292696760
Fax: +3292696770
Contact: Hans Martens
hisk@hisk.edu

www.hisk.edu

 

Call for Participation at The Kumasi Symposium

The Kumasi Curio Kiosk Project

Tapping Local Resources For Sustainable Education Through Art
Kwame Nkrumah University of Science and Technology (KNUST)/AfriCOAE

Department of General Art Studies, College of Arts and Social Sciences,
Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana
Phone: Nana Afia Opoku-Asare-KNUST: 233 (0)20 8
Contact: Barthosa Nkurumeh
africoae@gmail.com

afropoets.tripod.com/eta,

July 31-August 14, 2009
All submissions will be reviewed until available space is filled.

CALL FOR ARTS PRACTITIONERS - The Kumasi Curio Kiosk Project

One means of Tapping Local Resources for Sustainable Education through Art is by bringing together specialists form diverse parts of the world in a trans-national platform for inter-trading of cultural and knowledge capital in evidence-based society. In the Kumasi Curio Kiosks Project, the trade of intellectual capital from the specialist to the generalist requires both the sharing of existing and onward replication of the modules of knowledge that may accrue. Interestingly, the specialist participant will create a Curio Kiosk of 6 x 6ft for a temporary exhibition/stock of works by the specialist, and relevant other national cultural/intellectual capital for trading with the locals. The 6 x 6ft kiosk can be conceived as a mental space or a constructed physical space with any material, constructed on site or pre-fabricated, and as an individual enterprise or a collaborative one.

In the Kumasi case, we refer to the cluster of curio kiosks as a Trade Commune; a historical allusion be made subtly but we use the term 'curio kiosks' in anticipation that the outward design will invoke curiosity or content will bear special attraction to the locals. The setting for a Trade Commune may be a Kumasi city street, university campus, or a village within the Kumasi metro, as appropriate to the design of the arts participant. The mode of exchange is open in manners of traditional lectures, demonstrations, workshops, dialogical methods, and direct exchanges of material culture; or the post-modernist modalities in the way of performances, slide/new media/film screenings, and a hundred others. A trade may be by barter, cash, gift to the local or what ever is simpler and mutual. The trade is not just an inventory of arts data, cross-cultural process of negotiation and sharing of evidence creation; it is an engagement in a particular kind of commercial enterprise through use of the arts. Relying on collaboration, and free exercise of the arts, we therefore seek to stimulate for intellectual freedom and renewed vision of the arts as economic-cultural capital in the city. Because the process and structure encourages integration/assertion of the participant's institutional knowledge and national cultural capital, the supposition is that the individual or group would attract sponsorship for own costs from home institution or country.

The Kumasi Curio Kiosks Project is a project session of 'The Kumasi Symposium: Tapping Local Resources for Sustainable Education through Art'. The arts-based social experiment is designed to provide a context that will stimulate the artist, scholar and activist participants to place themselves and their practice into question and possibly resolutions through collaboration and cultural/artistic interchange. The pre-symposium session will run from July 31-August 8 2009 and the symposium from July 11-14 2009. About 30 local artists will be selected to work alongside some invited international colleagues.

If interested in participating in the project, send an introductory material on you, and a statement of interest with sketches/description of your proposed 6 x 6 ft Curio Kiosk that should be set up at Kumasi between July 31-August 7 2009 to africoae@gmail.com, -indicate if any local needs will be required (max. one page). Space is limited; all submissions will be reviewed until space is filled. We are also accepting nominations for the Project Co-Curator, Convener, Provocateur and Roundtable Discussants.

CALL FOR PLENARY SESSIONS, DEMONSTRATIONS/WORKSHOPS, EXHIBITIONS/INTERVENTIONS, AND CONTEXT-SPECIFIC PERFORMANCES - Tapping Local Resources For Sustainable Education Through Art

A call is made for contributions addressing one or more of the symposium strands and topics: Art Education Practice, Studio Practice, Curatorial/Museum/Community Arts Practice, Art History/Criticism, Arts Administration/Management/Marketing Practice, and Open Session. The aim of this symposium will be to map a multiplicity of perspectives and initiate conversations which seek to help us navigate and understand our position as individuals and communities in dealing with the issue of sustainability in the 21st century to enable fresh vistas to visual arts education developments in Ghana and perhaps similar settings. Submissions are, therefore, invited from people who would like to present in the symposium plenary sessions or support activities such as demonstrations/workshops, exhibitions/interventions, and site-specific tours of local national resources. Expression of interest and proposals for panels and Exhibitions/Practical Workshops will be reviews until January 17, 2009. We expect about 200 participants from around the world. The working language of the conference will be English. Applications for individual paper presentation and participation will be reviewed until the space is filled. All abstracts and brief biographies should be submitted to africoae@gmail.com, More at

http://afropoets.tripod.com/eta

CONTACT PERSONS:

(1) Barthosa Nkurumeh, AfriCOAE General Secretary, Instructional Leadership & Academic Curriculum Dept, University of Oklahoma, Norman, OK 73070, USA. E-mail: nkurumeh@ou.edu

(2) Nana Afia Opoku-Asare, Head of Department, Department of General Art Studies, College of Arts and Social Sciences, Kwame Nkrumah University of Science and Technology-KNUST, Kumasi, Ghana. E-mail: naopoku-asare.art@knust.edu.gh, afia_asare@yahoo.co.uk Tel: 233 (0)20 816-8598/233 (0)51 634 83.

 

 

IRWIN, NSK Passport Holders 2007 - 2008

7 January - 8 February 2009
T5 Project Space (Tobacna 5), Ljubljana

The exhibition is part of the action
"Hosting Moderna galerija!"

NSK Passport Holders

The NSK State in Time was founded in the early 1990s. We started issuing passports straight away; their manufacture and quality meet the required standards for this type of product. To date, a great number of people have applied for and received our passports, becoming citizens of the NSK State in Time. Needless to say, they have kept their principal citizenship as well. Most applicants are people from the art scene, that is, either artists or people who regularly follow art events. This group of NSK passport holders come for the most part from the developed countries of Western Europe and North America and are members of the relatively prosperous strata of society. Thus we can say that a majority of the citizens of the NSK State in Time come from the so-called First World. Their reasons for taking NSK citizenship have mainly to do with their understanding of and involvement in contemporary art.

more on: http://www.mg-lj.si/