Performative situations in public space: The research and action group. a weekly residential module led by Omer Krieger at UNIDEE - University of Ideas. 16 - 20, Nov 2015
Deadline:
Mon Oct 26, 2015 23:59
Location:
Biella,
Italy
Performative situations in public space: The research and action group
Mentor:Omer Krieger
When: 16 Nov / 20 Nov, 2015
Deadline for application submission: 26.10.2015
Where: Cittadellarte, Biella
Language: English
MODULE OUTLINE
The module will commence with the formation of a group out of several individuals. We will discuss and research together which groups act in public space and we will train to become one, or more. We will become a group of people moving together, building common performance structures, self-design of shared behavior, as moments and building blocks of a public choreography that can serve to manifest, attack, defend, protest, relate to other people, create conflict and pleasure, violence and beauty, reality and fiction.
Using video, photos and other documents, and, most importantly, the participants’ own experience and physical knowledge, we will work in the studio and move on to outdoor public spaces, creating formations of power, resistance, friendship, solidarity. We will walk in town and study it together: reading and analyzing public choreography, the performance of the state, modes of civic behavior, performances of power, order and danger.
We will choose a public site to relate to, or invent one, and develop a public ceremony, a performative situation to activate and celebrate it, following research of commemorative actions and new rituals for sites of past and present conflict, in relation to architecture, politics, public sculpture, urban space, and involving questions of pilgrimage, assembly, collective progression, spatial tensions, the performance of mythos and ethos.
SCHEDULE
November 16th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions
afternoon
Group Trip in Biella
Getting to know each other; public and group biographies of participants, including histories of conflict and collective action. Found dance and theatre, imagery and sound on the street. Using public sculpture and furniture, inahabiting symbolic sites and common spaces.
November 17th
morning
Participants present videos of readymade moments of public performance: state and opposition, critical and affirmative, announced and unannounced, singular and collective. Discussion and analysis
afternoon
Group walk in the area and town, locating, documenting and analysing public choreography and ready-made performance. ritual and pilgrimage.
evening
Screenings: public actions and ceremonies
November 18th
morning
How do we move together? Writing collective movement in the studio and public space. Notations, group communication, code, language. Accident and emergency cases.
afternoon
Walking the scores
November 19th
morning
Politics today. Where do we stand, What do we move for, Where do we move, What do we commemorate. Do we assemble for joy or mourning, consensus or conflict, belonging or standing out. Clear demands vs. positions of ambivalence.
Afternoon
Writing a choreographic score for the group, a route in town. How do we move and where to. Maps, locations, writing of collective movement, action procedures and protocol of behavior.
evening
Fake Party
November 20th
morning
rehearsal and preparations for final action
afternoon
Final action in town
evening
Party
MENTOR
BIOGRAPHY AND STATEMENT
Omer Krieger is an artist and curator who composes performative actions, political situations, forms of assembly and civic choreographies in public spaces. Krieger studies the public experience and the performance of the state, and is interested in the relations between art, citizenship, politics and action. Co-founder of the performative research body Public Movement, Krieger has served for the last four years as artistic director of Under the Mountain: New Public Art Festival, as part of the Jerusalem Season of Culture.
Participation fee:
570.00 € Including accomodation and half-board
Mentor:Omer Krieger
When: 16 Nov / 20 Nov, 2015
Deadline for application submission: 26.10.2015
Where: Cittadellarte, Biella
Language: English
MODULE OUTLINE
The module will commence with the formation of a group out of several individuals. We will discuss and research together which groups act in public space and we will train to become one, or more. We will become a group of people moving together, building common performance structures, self-design of shared behavior, as moments and building blocks of a public choreography that can serve to manifest, attack, defend, protest, relate to other people, create conflict and pleasure, violence and beauty, reality and fiction.
Using video, photos and other documents, and, most importantly, the participants’ own experience and physical knowledge, we will work in the studio and move on to outdoor public spaces, creating formations of power, resistance, friendship, solidarity. We will walk in town and study it together: reading and analyzing public choreography, the performance of the state, modes of civic behavior, performances of power, order and danger.
We will choose a public site to relate to, or invent one, and develop a public ceremony, a performative situation to activate and celebrate it, following research of commemorative actions and new rituals for sites of past and present conflict, in relation to architecture, politics, public sculpture, urban space, and involving questions of pilgrimage, assembly, collective progression, spatial tensions, the performance of mythos and ethos.
SCHEDULE
November 16th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions
afternoon
Group Trip in Biella
Getting to know each other; public and group biographies of participants, including histories of conflict and collective action. Found dance and theatre, imagery and sound on the street. Using public sculpture and furniture, inahabiting symbolic sites and common spaces.
November 17th
morning
Participants present videos of readymade moments of public performance: state and opposition, critical and affirmative, announced and unannounced, singular and collective. Discussion and analysis
afternoon
Group walk in the area and town, locating, documenting and analysing public choreography and ready-made performance. ritual and pilgrimage.
evening
Screenings: public actions and ceremonies
November 18th
morning
How do we move together? Writing collective movement in the studio and public space. Notations, group communication, code, language. Accident and emergency cases.
afternoon
Walking the scores
November 19th
morning
Politics today. Where do we stand, What do we move for, Where do we move, What do we commemorate. Do we assemble for joy or mourning, consensus or conflict, belonging or standing out. Clear demands vs. positions of ambivalence.
Afternoon
Writing a choreographic score for the group, a route in town. How do we move and where to. Maps, locations, writing of collective movement, action procedures and protocol of behavior.
evening
Fake Party
November 20th
morning
rehearsal and preparations for final action
afternoon
Final action in town
evening
Party
MENTOR
BIOGRAPHY AND STATEMENT
Omer Krieger is an artist and curator who composes performative actions, political situations, forms of assembly and civic choreographies in public spaces. Krieger studies the public experience and the performance of the state, and is interested in the relations between art, citizenship, politics and action. Co-founder of the performative research body Public Movement, Krieger has served for the last four years as artistic director of Under the Mountain: New Public Art Festival, as part of the Jerusalem Season of Culture.
Participation fee:
570.00 € Including accomodation and half-board
Objects in the mirror are closer than they appear: contemporary art histories and other news. A Weekly Residential Module led by Federica Martini and Anne-Julie Raccoursier at UNIDEE - University of Ideas. 9 - 13, Nov 2015
Deadline:
Sun Oct 18, 2015 23:59
Location:
Biella,
Italy
Objects in the mirror are closer than they appear: contemporary art histories and other news
Mentor: Federica Martini
Guest: Anne-Julie Raccoursier
When: 9 - 13 Nov, 2015
Deadline for application submission: 18 Oct, 2015
Where: Cittadellarte / Fondazione Pistoletto - Biella
Language: English
TOPICS/TAGS: New journalism, aesthetic journalism, fictional institutions, art history paradigms, temporality, archives of the present, responsibility
MODULE OUTLINE
Starting from examples of detection, “aesthetic journalism” and fictional institutions, this module will investigate the writing of art histories in contemporary artistic research practices.
The hypothesis is that the contemporary perception of the psychological potential of the past, the present and the future as cultural ideas, shapes our relationship to archives, documents, artworks and oral histories produced by art scenes. Such relationship is affected by the difficulty of holding one’s gaze on topicalities while they unfold, and running the risk of fitting so well to one’s epoch that it becomes impossible to critically observe it. Faced with an ever-expanding array of media and sources with which to interact, the writing of contemporary art history has been confronted in recent years with the transfer of storytelling techniques beyond the borders of the literary sphere. Approaches from new journalism and historical novels are employed in the writing of art history not only as a means to chronicle the past and present of contemporary art, but also as a situation where utopian and dystopic anticipation assists the representation of a plural art scene.
More synchronic and less chronological, the community-based recording of contemporary art enables to infiltrate major narratives with micro-histories and material knowledge. The speed of information has dramatically reduced the gap between the moment when the event takes place and that when it gets recorded. Far from being a mere site for storing information, the archive is interpreted as a situation where knowledge is produced and not only documented.
With the aim of “doing theory” throughout the week, the module will feature lectures, screenings and discussions, supplemented by workshop-based activities. Special attention will be given to the notion of responsibility in the writing of history and collective authorship with reference to art theory, communication studies, literature, cinema and digital cultures.
SCHEDULE
November 9th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan)
afternoon
Workshop presentation and construction of a common library of references: Every participant will introduce her/himself through bringing a book/document/research object/DVD… which is representative of their position / ideas about the themes discussed. This common library will be open to consultation during the workshop days. Each participant has a 10 min slot for his/ her presentation.
Preliminary questions:
The short (art) century: Statement followed by group discussion
All art has been contemporary (representing present art and museum critique after 1968): Statement followed by group discussion
Screening: L’Arche Russe (Alexander Sokourov)
November 10th
morning
Fictional institutions: presentation of case-studies and discussion.
Workshop session: encyclopaedias of fictional artists.
afternoon
Screenings: Noor Abuarafeh, On ‘Observational desire on a memory that remains’ and other selected videos.
Discussion and collective writing.
November 11th
morning
The uses of literacy: oral history, history from below, micro-history.
Workshop session: oral history.
afternoon
Workshop session: oral history.
Screening: The Battle of Orgreave (Jeremy Deller).
November 12th
morning
Archives: research methodologies
Workshop session: document-based research.
afternoon
New journalism, historical novels and creative non-fiction
Workshop session: fabricating the news.
Screening: It Happened Tomorrow (René Clair); Wag the Dog (Barry Levinson).
November 13th
morning
Workshop session
afternoon
Final discussion and public presentation of the works/ texts/ documents produced during the workshop sessions.
evening
Party
REFERENCES
The mentor will prepare a reader for participants with key texts, some of which will be discussed during the week.
Giorgio Agamben, “What is Contemporary?”, in What is an Apparatus? Stanford, Ca.: Stanford University Press, 2009.
Sergio Atzeni, Il Figlio di Bakunin (Bakunin’s Son), New York: Italica Press, 2008.
Alfredo Cramerotti, Aesthetic Journalism: How to Inform Without Informing, Bristol & Chicago: Intellect, 2009.
Frank O’Hara, The Day Lady Died (http://www.poetryfoundation.org/poem/171368)
William Morris, News from Nowhere, London: Penguin, 2014.
Georges Perec, Les Choses: A Story of the Sixties, trans. Helen Lane, New York: Grove Press, 1967.
Alessandro Portelli, They Say in Harlan County, Oxford: Oxford University Press, 2010.
Leonardo Sciascia, Il teatro della memoria, Torino: Einaudi, 1981.
Antonio Tabucchi, Sostiene Pereira (Pereira Maintains), Edinburgh: Canongate Books, 1996.
Paul Veyne, Writing History: Essay on Epistemology, trans. by Mina Moore-Rinvolucri, Manchester and New York: Manchester University Press, 1996.
Wu Ming, New Italian Epic, Torino: Einaudi, 2009.
www.wumingfoundation.com/italiano/outtakes/outtakes.html
Video list:
Living Theatre, The Connection
https://www.youtube.com/watch?v=MEkUzUbagCI
Keren Cytter, Continuity
https://www.youtube.com/watch?v=lZSRh76C9Qs
Yael Bartana, …And Europe will be stunned
http://yaelbartana.com/project/sirens-song-2005
Jeremy Deller, The Battle of Orgreave
https://www.youtube.com/watch?v=3ncrWxnxLjg
Excerpt from Radio Days, a movie by Woody Allen
https://www.youtube.com/watch?v=VBmLFjwmqSo
Excerpt from Wag the Dog, a movie by Barry Levinson
https://www.youtube.com/watch?v=KYT39lMdmbM
Excerpt from Hans Namuth, Pollock Painting
https://www.youtube.com/watch?v=KNwvUco146c
MENTOR
BIOGRAPHY AND STATEMENT
Federica Martini, PhD, is an art historian and curator. She was a member of the Curatorial Departments of the Castello di Rivoli Museum of Contemporary Art, Musée Jenisch Vevey and Musée cantonal des Beaux-Arts/Lausanne. Since 2009, she is head of the Master program MAPS - Arts in Public Spheres at ECAV, Ecole Cantonale d’Art du Valais, Sierre.
Recent projects include The Museum of Post-digital Cultures (2013 - ongoing); Taking Time (Nida Art Colony, 2012); Vague Terrain - 0° latitude-longitude Gleisdreieck (Complices, Berlin, 2012); Royal Garden 4 - Rivières (Le Crédac - Centre d’art contemporain d’Ivry, 2012); Slipping Glimpser (Théatre Arsenic, Lausanne, 2011); Incongruous (Musée cantonal des Beaux-Arts/Lausanne, 2011).
GUEST
Anne-Julie Raccoursier: after her studies in Geneva, Anne-Julie Raccoursier spent a few years in the US and obtained a Master of Fine Arts in Critical Studies from the California Institute of the Arts in Los Angeles.
As an artist she is involved in conceptual and discursive interventions using installations and videos. In her works, she focuses closely on contemporary issues such as identity, the culture of entertainment and its rituals as well as the art of displacement. Her video installations have been presented recently in the personal exhibitions “Wireless World“ at the Centre d’édition contemporaine in Geneva, “Non-stop fun“ at the Musée cantonal des Beaux-Arts in Lausanne, “Woodstock“ at St.Gall, “Crazy Horse“ at o.T. Raum für aktuelle Kunst, Luzern, “Loop Line“ at Kunsthaus Langenthal and “Crazy Horse“ at Palais de Tokyo, Paris. She teaches at the Research-Based Master Programme CCC at the Geneva University of Art and Design and at the Master Arts in Public Spheres, at Ecole cantonale d’art du Valais, in Sierre.
Participation fee:
570.00 € Including accomodation and half-board
Mentor: Federica Martini
Guest: Anne-Julie Raccoursier
When: 9 - 13 Nov, 2015
Deadline for application submission: 18 Oct, 2015
Where: Cittadellarte / Fondazione Pistoletto - Biella
Language: English
TOPICS/TAGS: New journalism, aesthetic journalism, fictional institutions, art history paradigms, temporality, archives of the present, responsibility
MODULE OUTLINE
Starting from examples of detection, “aesthetic journalism” and fictional institutions, this module will investigate the writing of art histories in contemporary artistic research practices.
The hypothesis is that the contemporary perception of the psychological potential of the past, the present and the future as cultural ideas, shapes our relationship to archives, documents, artworks and oral histories produced by art scenes. Such relationship is affected by the difficulty of holding one’s gaze on topicalities while they unfold, and running the risk of fitting so well to one’s epoch that it becomes impossible to critically observe it. Faced with an ever-expanding array of media and sources with which to interact, the writing of contemporary art history has been confronted in recent years with the transfer of storytelling techniques beyond the borders of the literary sphere. Approaches from new journalism and historical novels are employed in the writing of art history not only as a means to chronicle the past and present of contemporary art, but also as a situation where utopian and dystopic anticipation assists the representation of a plural art scene.
More synchronic and less chronological, the community-based recording of contemporary art enables to infiltrate major narratives with micro-histories and material knowledge. The speed of information has dramatically reduced the gap between the moment when the event takes place and that when it gets recorded. Far from being a mere site for storing information, the archive is interpreted as a situation where knowledge is produced and not only documented.
With the aim of “doing theory” throughout the week, the module will feature lectures, screenings and discussions, supplemented by workshop-based activities. Special attention will be given to the notion of responsibility in the writing of history and collective authorship with reference to art theory, communication studies, literature, cinema and digital cultures.
SCHEDULE
November 9th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan)
afternoon
Workshop presentation and construction of a common library of references: Every participant will introduce her/himself through bringing a book/document/research object/DVD… which is representative of their position / ideas about the themes discussed. This common library will be open to consultation during the workshop days. Each participant has a 10 min slot for his/ her presentation.
Preliminary questions:
The short (art) century: Statement followed by group discussion
All art has been contemporary (representing present art and museum critique after 1968): Statement followed by group discussion
Screening: L’Arche Russe (Alexander Sokourov)
November 10th
morning
Fictional institutions: presentation of case-studies and discussion.
Workshop session: encyclopaedias of fictional artists.
afternoon
Screenings: Noor Abuarafeh, On ‘Observational desire on a memory that remains’ and other selected videos.
Discussion and collective writing.
November 11th
morning
The uses of literacy: oral history, history from below, micro-history.
Workshop session: oral history.
afternoon
Workshop session: oral history.
Screening: The Battle of Orgreave (Jeremy Deller).
November 12th
morning
Archives: research methodologies
Workshop session: document-based research.
afternoon
New journalism, historical novels and creative non-fiction
Workshop session: fabricating the news.
Screening: It Happened Tomorrow (René Clair); Wag the Dog (Barry Levinson).
November 13th
morning
Workshop session
afternoon
Final discussion and public presentation of the works/ texts/ documents produced during the workshop sessions.
evening
Party
REFERENCES
The mentor will prepare a reader for participants with key texts, some of which will be discussed during the week.
Giorgio Agamben, “What is Contemporary?”, in What is an Apparatus? Stanford, Ca.: Stanford University Press, 2009.
Sergio Atzeni, Il Figlio di Bakunin (Bakunin’s Son), New York: Italica Press, 2008.
Alfredo Cramerotti, Aesthetic Journalism: How to Inform Without Informing, Bristol & Chicago: Intellect, 2009.
Frank O’Hara, The Day Lady Died (http://www.poetryfoundation.org/poem/171368)
William Morris, News from Nowhere, London: Penguin, 2014.
Georges Perec, Les Choses: A Story of the Sixties, trans. Helen Lane, New York: Grove Press, 1967.
Alessandro Portelli, They Say in Harlan County, Oxford: Oxford University Press, 2010.
Leonardo Sciascia, Il teatro della memoria, Torino: Einaudi, 1981.
Antonio Tabucchi, Sostiene Pereira (Pereira Maintains), Edinburgh: Canongate Books, 1996.
Paul Veyne, Writing History: Essay on Epistemology, trans. by Mina Moore-Rinvolucri, Manchester and New York: Manchester University Press, 1996.
Wu Ming, New Italian Epic, Torino: Einaudi, 2009.
www.wumingfoundation.com/italiano/outtakes/outtakes.html
Video list:
Living Theatre, The Connection
https://www.youtube.com/watch?v=MEkUzUbagCI
Keren Cytter, Continuity
https://www.youtube.com/watch?v=lZSRh76C9Qs
Yael Bartana, …And Europe will be stunned
http://yaelbartana.com/project/sirens-song-2005
Jeremy Deller, The Battle of Orgreave
https://www.youtube.com/watch?v=3ncrWxnxLjg
Excerpt from Radio Days, a movie by Woody Allen
https://www.youtube.com/watch?v=VBmLFjwmqSo
Excerpt from Wag the Dog, a movie by Barry Levinson
https://www.youtube.com/watch?v=KYT39lMdmbM
Excerpt from Hans Namuth, Pollock Painting
https://www.youtube.com/watch?v=KNwvUco146c
MENTOR
BIOGRAPHY AND STATEMENT
Federica Martini, PhD, is an art historian and curator. She was a member of the Curatorial Departments of the Castello di Rivoli Museum of Contemporary Art, Musée Jenisch Vevey and Musée cantonal des Beaux-Arts/Lausanne. Since 2009, she is head of the Master program MAPS - Arts in Public Spheres at ECAV, Ecole Cantonale d’Art du Valais, Sierre.
Recent projects include The Museum of Post-digital Cultures (2013 - ongoing); Taking Time (Nida Art Colony, 2012); Vague Terrain - 0° latitude-longitude Gleisdreieck (Complices, Berlin, 2012); Royal Garden 4 - Rivières (Le Crédac - Centre d’art contemporain d’Ivry, 2012); Slipping Glimpser (Théatre Arsenic, Lausanne, 2011); Incongruous (Musée cantonal des Beaux-Arts/Lausanne, 2011).
GUEST
Anne-Julie Raccoursier: after her studies in Geneva, Anne-Julie Raccoursier spent a few years in the US and obtained a Master of Fine Arts in Critical Studies from the California Institute of the Arts in Los Angeles.
As an artist she is involved in conceptual and discursive interventions using installations and videos. In her works, she focuses closely on contemporary issues such as identity, the culture of entertainment and its rituals as well as the art of displacement. Her video installations have been presented recently in the personal exhibitions “Wireless World“ at the Centre d’édition contemporaine in Geneva, “Non-stop fun“ at the Musée cantonal des Beaux-Arts in Lausanne, “Woodstock“ at St.Gall, “Crazy Horse“ at o.T. Raum für aktuelle Kunst, Luzern, “Loop Line“ at Kunsthaus Langenthal and “Crazy Horse“ at Palais de Tokyo, Paris. She teaches at the Research-Based Master Programme CCC at the Geneva University of Art and Design and at the Master Arts in Public Spheres, at Ecole cantonale d’art du Valais, in Sierre.
Participation fee:
570.00 € Including accomodation and half-board
Apply for a grant for: Creating Territorialities, a residency curated by Giusy Checola in the frame of Understanding Territoriality: Identity, Place & Possession (TIPP)
Deadline:
Sun Sep 13, 2015 23:20
Location:
Biella,
Italy
CALL FOR APPLICATIONS
for Creating Territorialities residency at UNIDEE – University of Ideas at Cittadellarte – Fondazione Pistoletto in Biella, Italy
with the mentorship of Giusy Checola
in the frame of Understanding Territoriality: Identity, Place & Possession (TIPP)
Residency timetable: 1 week, 2 – 8 November 2015
I. CALL
This is an open call for applications to partake in Creating Territorialities, a weekly residential module conceived for Cittadellarte - Fondazione Pistoletto by Giusy Checola within the frame of the project Understanding Territoriality: Identity, Place & Possession (TIPP) and developed under the umbrella of UNIDEE – University of Ideas (directed by Cecilia Guida and developed in collaboration with Juan Esteban Sandoval, within the general direction of Cittadellarte’s director Paolo Naldini).
Creating Territorialities is a research-oriented residency program, aiming at investigating notions and forms of “territoriality”, meant as an interrupted relationship between inhabitants and territory. Territory - whose investigation is based on its complexity and qualities, and on spatial, cultural and social sustainabilities - is understood here as an outcome of the co-evolution of human life and that of the living place, as composed by historical, cultural, social and identitarian stratifications.
Creating Territorialities, developed in collaboration with geographer Thomas Gilardi, and with the participation of lecturers and experts on a range of relevant disciplines (humanistic geography, philosophy and hermeneutics of place and landscape, urban planning, aesthetics, new technologies and theories of complexity, history and heritage creation), is built on the coexistence of territorial and extra-territorial, on locality and globality in our daily life. The experts and lecturers will be chosen in partnership and collaboration with national and international universities and research centres. The weekly residency aims at investigating the creation of new forms of territoriality, while attempting to reinvent the cultural denomination of places and their assigned “functions”. In these terms, the artistic research and production of Creating Territorialities is understood as a “reterritorialization” act.
Giusy Checola (1973, IT) is scholar and curator of artistic-interdisciplinary projects mainly focused on the relation between art and public sphere. Her current research focuses on artist-led place-making in relation to disciplines such as cultural geography and geophilosphy, mainly in Euro-Mediterranean and Southern areas; on the creation of cultural conditions which encourage the artistic intervention as reterritorializing acts; on cultural, social and political effects produced by the relationship between art, publicness and territory. Founder of the platform and archive Archiviazioni (Southern Italy), she is part of the curatorial board of SoutHeritage Foundation (Matera, Italy), member of the experts committee of Roberto Cimetta Fund (Paris, France), researcher for IPA (Institute for Public Art, US and China) and PhD candidate at Doctoral School EDESTA (Esthétique, Science et Technologies des Arts) at University Paris VIII Vincennes Saint-Denis (France) and at Doctorate Interculture and International Cooperation at University of Bergamo (Italy).
Thomas Gilardi (Milan, 1973) studied Geography at Genoa University. His research has focused on both terraced and urban landscape. Since 2003, he is consulting for public and private institutions as a producer of laboratories of geography focussing on environmental and intercultural issues. He is PhD candidate at Milan University and teaches geography in secondary schools.
II. ABOUT TIPP
Understanding Territoriality: Identity, Place & Possession (TIPP) is a project aiming to generate discourse on how tensions between the personal, the local and the general are threatening the sustainability of the nation states and the European Union. Its main objective is that of engaging diverse audiences, - above all those not normally involved in such debates - in the investigation and understanding of territoriality.
Understanding Territoriality: Identity, Place & Possession (TIPP) is a project co-funded by the Creative Europe Programme of the European Union, and produced in partnership by Fabrica (UK, http://fabrica.org.uk), Netwerk (Belgium, http://www.netwerk-art.be/en), Otvorena Soba (Macedonia, http://www.publicroom.org/index.html) and Cittadellarte - Fondazione Pistoletto (Italy, http://www.cittadellarte.it).
III. ABOUT UNIDEE - University of Ideas
UNIDEE - University of Ideas is a multifaceted educational platform founded in the nineties by Pistoletto, investigating the relationship between art and the social sphere. After nearly two decades focussing on seasonal educational residencies, in 2015 UNIDEE launched a new programme of weekly residential modules based on interdisciplinary research, knowledge sharing and experience exchange, alongside a series of artists’ residency projects.
This year's programme, developed by Cecilia Guida in collaboration with Juan Esteban Sandoval, within the general direction of Cittadellarte’s director Paolo Naldini, kicked off on 04.05.2015, and focuses on three broad concepts: temporality, responsibility, participation, encompassing art history, activism, commons, politics, territorial transformation, museology, visual narratives, social imagery, relational systems, rituals, social cooking, urban space (etc.).
The programme for 2016, to be announced in the Fall, will focus on another three themes.
The structure of UNIDEE - University of Ideas is articulated through four types of activities investigating the relationship between art and the social:
1. Weekly residential modules taking place at Cittadellarte, open to professionals as well as the general public, held by mentors, experts on the three broad thematic areas (temporality, responsibility, participation) chosen for 2015’s programme and examined in depth from artistic, historical, geographical, philosophical, political, economic, anthropological, sociological, mediological, juridical, architectural points of view. Modules are intended as high intensity rapid retreats for localized practitioners who feel they might benefit from a few days step back form their practice in order to devote themselves to overall rethinking or to addressing specific issues in a stimulating environment, with other practitioners and professionals form various also unrelated contexts. Modules are coordinated each by a different expert in the frame of Cittadellarte's and specifically Unidee's research frame;
2. Seminar modules taking place at Cittadellarte and/or at external partner centres;
3. Residency programmes for international artists at Cittadellarte;
4. Connective Residency at Cittadellarte.
IV. ELIGIBILITY CRITERIA
You are eligible to apply if (all conditions below must be met):
You are a creative professional (visual artist, designer, architect, curator, writer, etc., ...) active in any field anywhere in the world, born after 1970
You have a fluent knowledge of the English language
You submit all the required documentation as part of your application in the correct format and by the given deadline.
V. ABOUT THE RESIDENCY
The grant includes:
Travel reimbursement, up to 300 euro
Meals
Accommodation (single room, shared bathroom facilities)
Use of a shared studio space
Use of shared workshop facilities and AV equipment
Medical Insurance (accidents only)
Residency coordination
VI. TIMELINE
The application period for partaking in the Creating Territorialities weekly module, scheduled 2nd – 8th, November 2015 starts on 20.07.2015. The deadline for submitting your application is 13.09.2015, 11pm CET.
A commission composed of Paolo Naldini (ceo, Cittadellarte - Fondazione Pistoletto), Cecilia Guida (director, UNIDEE – University of Ideas), Juan Esteban Sandoval (Director, Art Office, Cittadellarte - Fondazione Pistoletto) and Giusy Checola (mentor, Creating Territorialities), will operate the selection of n. 10 participants. The selection is based on artistic merit and the consistency of the candidates' artistic practice with the aims of TIPP and UNIDEE – University of Ideas.
Final results will be published on the UNIDEE - University of Ideas' website (http://www.cittadellarte.it/unidee/opencallpartners.html) and on TIPP's blog (https://understandingterritoriality.wordpress.com/), as well as on the partner organisations' social media pages by 25th September 2015. Please note that only selected artists will be contacted when the selection process is over.
VI. HOW TO APPLY
Pleasen download the application form and guidelines here:
http://www.cittadellarte.it/unidee/opencallpartners.html
PARTNERS
Understanding Territoriality: Identity, Place & Possession (TIPP) is a project co-funded by the Creative Europe Programme of the European Union, and produced in partnership by Fabrica (UK, http://fabrica.org.uk ), Netwerk (Belgium, http://www.netwerk-art.be/en ), Otvorena Soba (Macedonia, http://www.publicroom.org/index.html ) and Cittadellarte-Fondazione Pistoletto (Italy, http://www.cittadellarte.it)
UNIDEE – University of Ideas, the educational residency program organized by the Education Office of Cittadellarte – Fondazione Pistoletto Onlus, is possible thanks to the support of patrons: Fondazione Zegna, illycaffè S.p.A., Fondo Edo Tempia.
Photocopy tales: Publications and visual essays. A weekly residential module led by Santiago Reyes Villaveces, with Manuel Ángel Macia , at UNIDEE - University of Ideas (Cittadellarte- Fondazione Pistoletto, Italy) between Oct 19th and 23rd, 2015
Deadline:
Sat Sep 19, 2015 17:00
Location:
Biella,
Italy
Photocopy tales: Publications and visual essays
Mentor: Santiago Reyes Villaveces
Guest: Manuel Ángel Macia (artist, researcher and PhD candidate in Art, Goldsmiths, University of London).
When: 19 Oct / 23 Oct, 2015
Deadline for application submission: 19.09.2015
Where: Cittadellarte, Biella
Language:English
TOPICS/TAGS: Temporality, visual narratives, artist books, publications, art works reproductions, art history narratives, participation, personal archive, graphic design
The bulk of contemporary content production, in its quantitative rush and value production, tends to stand on the principle that information must be understandable and verifiable in itself, that it must be already pregnant with its own explanation, in order to be consumed and used in the production of other content. Graphic media, editorial processes and means of production are conceived as second order tools which privilege and facilitate content of informative nature. This narrows the narrative potential as well as the scope of graphic media and editorial processes.
This theoretical and practical module aims to approach the editorial and graphic production processes as generators of signification and meaning, while placing an emphasis on visual narratives. It addresses three lines of work: development of experimental visual narratives, editorial processes and means of production and circulation of publications. To narrow down the vast universe of the work lines proposed by the module, the workshop focuses on the possibilities of image production and reproduction offered by photocopying. As an cheap and easy manipulation medium, photocopying allows the development of exercises proposed throughout the module, while avoiding the digital, chemical and mechanical image production methods.
The module is designed for visual professionals interested in further exploring visual narrative practices and editorial processes.
SCHEDULE
October 19th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan).
afternoon
Exercise 1 “Self presentation”, part 1:
Using only photocopies, participants have 60 min to build a presentation of themselves through means of a visual narrative (min. 15 pages).
The result will be discussed in a round table.
After the discussion, each participant will edit the exercise of another participant.
Reading: Andre Malraux, “The museum without walls”, in The voices of silence, Princeton, Princeton University Press, 1978.
October 20th
morning
Discussion of the text by André Malraux, The museum without walls. Screening: Marker, Chris, La jetée (1962).
afternoon
Introduction to concepts for an editorial project.
“Self presentation”, part 2:
Participants have the possibility to complement and edit the first version of their own exercise. The second version will then be disscused with the group.
Reading: Aby Warburg, Mnemosyne, Madrid: Akal, 2010.
October 21st
a day with Manuel Ángel Macia
morning
Exercise 2 “Chapter 2·3/4”:
Using only photocopies, each participant should elaborate a narrative related to art history.
afternoon
Binding workshop.
Discussion of Exercise 2 “Chapter 2·3/4”
Reading: Walter Benjamin, The storyteller, in Walter Benjamin: Selected Writings, Volume 3: 1935-1938, Harvard University press, 2004.
October 22nd
morning and afternoon
Introduction to print production processes
Exercise 3 “Book”:
Using only photocopies, participants should produce a visual narrative book
October 23rd
morning and afternoon
Introduction to distribution channels for publications.
Final discussion and presentation of the final version of “Book”, “Chapter 2·3/4” and “self presentation” exercises.
evening
Regueton Party
Santiago Reyes Villaveces (Colombia, 1986), visual artist, lives and works in Bogotà, Colombia. His work respond to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works – installations, sculptures, drawings and photographs – are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces. The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation.
http://subsumption.org/
Education
2009 Bachelor of Fine Arts, with emphasis in Visual Arts, art theory and history Universidad de los Andes, Bogotá, Colombia
2007-2008 Academic exchange program;Universidad de São Paulo, Escuela de Comunicações e Arte. São Paulo, Brasil.
Teaching
2013-2015 Lecturer professor: Infographics, Writings and Mediations and “Transmedia workshop”, Universidad Javeriana, Department of Communications Bogotá, Colombia.
2013-2011 Lecturer professor: Graphics 3 - Visual narratives, Universidad Jorge Tadeo Lozano, Art Department, Bogotá, Colombia.
2010-2013 Lecturer professor: Visual Culture and “Portafolio Workshop”, La Salle College, Bogotá, Colombia.
2009 Lecturer professor: Contemporary Art, Modern Art, Taller 5, Bogotá, Colombia.
Manuel Ángel Macia is an artist. He works and lives in London, where he is a currently finishing a practice based PhD (Goldsmiths). His project charts the capitalisation of language as it intersects mechanisms of knowledge production. He recently collaborated with Rampa (Madrid) and LaAgencia (Bogotá). As of late, his interests have inclined towards aesthetics/politics from the vantage perspective(s) of subsumed perceptual warfare.
Participation fee
570.00 € Including accomodation and half-board
Mentor: Santiago Reyes Villaveces
Guest: Manuel Ángel Macia (artist, researcher and PhD candidate in Art, Goldsmiths, University of London).
When: 19 Oct / 23 Oct, 2015
Deadline for application submission: 19.09.2015
Where: Cittadellarte, Biella
Language:English
TOPICS/TAGS: Temporality, visual narratives, artist books, publications, art works reproductions, art history narratives, participation, personal archive, graphic design
Module outline
The bulk of contemporary content production, in its quantitative rush and value production, tends to stand on the principle that information must be understandable and verifiable in itself, that it must be already pregnant with its own explanation, in order to be consumed and used in the production of other content. Graphic media, editorial processes and means of production are conceived as second order tools which privilege and facilitate content of informative nature. This narrows the narrative potential as well as the scope of graphic media and editorial processes.
This theoretical and practical module aims to approach the editorial and graphic production processes as generators of signification and meaning, while placing an emphasis on visual narratives. It addresses three lines of work: development of experimental visual narratives, editorial processes and means of production and circulation of publications. To narrow down the vast universe of the work lines proposed by the module, the workshop focuses on the possibilities of image production and reproduction offered by photocopying. As an cheap and easy manipulation medium, photocopying allows the development of exercises proposed throughout the module, while avoiding the digital, chemical and mechanical image production methods.
The module is designed for visual professionals interested in further exploring visual narrative practices and editorial processes.
SCHEDULE
October 19th
morning
Guided tour to Cittadellarte, including the Pistoletto, Arte Povera collections and temporary exhibitions (curated by Luca Furlan).
afternoon
Exercise 1 “Self presentation”, part 1:
Using only photocopies, participants have 60 min to build a presentation of themselves through means of a visual narrative (min. 15 pages).
The result will be discussed in a round table.
After the discussion, each participant will edit the exercise of another participant.
Reading: Andre Malraux, “The museum without walls”, in The voices of silence, Princeton, Princeton University Press, 1978.
October 20th
morning
Discussion of the text by André Malraux, The museum without walls. Screening: Marker, Chris, La jetée (1962).
afternoon
Introduction to concepts for an editorial project.
“Self presentation”, part 2:
Participants have the possibility to complement and edit the first version of their own exercise. The second version will then be disscused with the group.
Reading: Aby Warburg, Mnemosyne, Madrid: Akal, 2010.
October 21st
a day with Manuel Ángel Macia
morning
Exercise 2 “Chapter 2·3/4”:
Using only photocopies, each participant should elaborate a narrative related to art history.
afternoon
Binding workshop.
Discussion of Exercise 2 “Chapter 2·3/4”
Reading: Walter Benjamin, The storyteller, in Walter Benjamin: Selected Writings, Volume 3: 1935-1938, Harvard University press, 2004.
October 22nd
morning and afternoon
Introduction to print production processes
Exercise 3 “Book”:
Using only photocopies, participants should produce a visual narrative book
October 23rd
morning and afternoon
Introduction to distribution channels for publications.
Final discussion and presentation of the final version of “Book”, “Chapter 2·3/4” and “self presentation” exercises.
evening
Regueton Party
Mentor
BIOGRAPHY AND STATEMENT
Santiago Reyes Villaveces (Colombia, 1986), visual artist, lives and works in Bogotà, Colombia. His work respond to an inquiry, obsession, fascination, and pleasure for the structures, assemblages and dynamics that evidence the state of transitivity and precariousness that appeal to a state of temporal indetermination. The works – installations, sculptures, drawings and photographs – are characterized by notions of scale, volume, weight, gravity, surface, pressure, contention, resistance, verticality, horizontality, limit and depth, creating an intimate relation with the space, architecture, the spectator’s body and the temporality of the exhibition and the pieces. The works transform, determine, modify, and interfere in the physical space in which they operate as well as the social, political, economic and historical space they inhabit and its possible modes of production, exhibition and circulation.
http://subsumption.org/
Education
2009 Bachelor of Fine Arts, with emphasis in Visual Arts, art theory and history Universidad de los Andes, Bogotá, Colombia
2007-2008 Academic exchange program;Universidad de São Paulo, Escuela de Comunicações e Arte. São Paulo, Brasil.
Teaching
2013-2015 Lecturer professor: Infographics, Writings and Mediations and “Transmedia workshop”, Universidad Javeriana, Department of Communications Bogotá, Colombia.
2013-2011 Lecturer professor: Graphics 3 - Visual narratives, Universidad Jorge Tadeo Lozano, Art Department, Bogotá, Colombia.
2010-2013 Lecturer professor: Visual Culture and “Portafolio Workshop”, La Salle College, Bogotá, Colombia.
2009 Lecturer professor: Contemporary Art, Modern Art, Taller 5, Bogotá, Colombia.
GUEST
Manuel Ángel Macia is an artist. He works and lives in London, where he is a currently finishing a practice based PhD (Goldsmiths). His project charts the capitalisation of language as it intersects mechanisms of knowledge production. He recently collaborated with Rampa (Madrid) and LaAgencia (Bogotá). As of late, his interests have inclined towards aesthetics/politics from the vantage perspective(s) of subsumed perceptual warfare.
Participation fee
570.00 € Including accomodation and half-board
CALL FOR APPLICATIONS FOR 5 WEEKLY RESIDENTIAL MODULES GRANTS AT UNIDEE – University of Ideas at Cittadellarte – Fondazione Pistoletto in Biella, Italy (Residency period: variable, September 28th – October 23rd) & 1 PRODUCTION PRIZE
Deadline:
Mon Aug 31, 2015 17:00
Location:
Biella,
Italy
CALL For APPLICATIONS FOR FIVE WEEKLY RESIDENTIAL MODULES GRANTS
at UNIDEE – University of Ideas at Cittadellarte – Fondazione Pistoletto in Biella, Italy
(Residency period: variable, September 28th – October 23rd)
&
ONE PRODUCTION PRIZE worth € 3000
in collaboration with Illycaffè
UNIDEE - University of Ideas (http://www.cittadellarte.it/unidee) is a multifaceted educational platform investigating the relationship between art and public sphere, through a new programme of weekly residential modules based on interdisciplinary research, knowledge sharing and experience exchange, alongside a series of artists’ residency projects.
The programme, developed by Cecilia Guida in collaboration with Juan Esteban Sandoval, kicked off in May 2015, and focuses its first year on three broad concepts: temporality, responsibility, participation, encompassing art history, activism, commons, politics, territorial transformation, museology, visual narratives, social imagery, relational systems, rituals, social cooking, urban space (etc.).
The structure of UNIDEE - University of Ideas is articulated through four types of activities investigating the relationship between art and public sphere:
Weekly residential modules taking place at Cittadellarte, open to professionals as well as the general public, held by mentors who are experts on the three broad thematic areas (temporality, responsibility, participation) chosen for 2015’s programme and examined in depth from artistic, historical, geographical, philosophical, political, economic, anthropological, sociological, mediological, juridical, architectural points of view
Seminar modules taking place at Cittadellarte and/or at external partner centres
Residency programmes for international artists at Cittadellarte
Connective Residency at Cittadellarte.
The weekly residencies offered through this joint grant (Illycaffè & Cittadellarte – Fondazione Pistoletto) include:
- return travel from country of residence to Cittadellarte – Fondazione Pistoletto (up to 1000 euros)
- one week' stay at Cittadellarte – Fondazione Pistoletto (single room in an apartment shared with other international residents, use of shared studio space and workshop facilities, half-board)
- insurance (travel and medical insurance for accidents)
- visa
- attendance to one module chosen by the participant amongst the following:
Terrain vague
A weekly residential module at Cittadellarte, curated by raumlaborberlin.
SEPTEMBER 28 – OCTOBER 02, 2015 http://www.cittadellarte.it/unidee/activity.html?id=19
Why do I do what I do?
A weekly residential module at Cittadellarte, curated by Beatrice Catanzaro.
OCTOBER 05 – 09, 2015 http://www.cittadellarte.it/unidee/activity.html?id=20
Where imagination slips into reality
A weekly residential module at Cittadellarte, curated by STEALTH.unlimited (Ana Džokić & Marc Neelen).
OCTOBER 12 – 16, 2015 http://www.cittadellarte.it/unidee/activity.html?id=21
Photocopy tales: Publications and visual essay
A weekly residential module at Cittadellarte, curated by Santiago Reyes Villaveces, with Manuel Ángel.
OCTOBER 19 – 23, 2015 http://www.cittadellarte.it/unidee/activity.html?id=22
- the five selected participants are expected to deliver a design prototype for the Illy can. All prototypes will be presented during Artissima Art Fair (Turin, 6-8 November, 2015).
The participant submitting the best prototype will be awarded a production prize worth € 3000,00, and the announcement will be made at a public event during the fair.
Please note that the production prize is meant to fund research and production for the project proposed in the initial application, which might or might not be linked to the Illy can design prototype.
You are eligible to apply if (all conditions below must be met):
- you are a creative professional (visual artist, designer, architect, curator, writer, etc., ...) active anywhere in the world
- you have not previously received any grants from Illycaffè
- you have a fluent knowledge of the English language
Please note that the residency dates are fixed and no changes can be accepted. Once the artist signs the agreement, it is mandatory to respect the given dates.
__________________________________________________________________
Deadline for submissions: Monday, 31st August, 2015, 5 pm CET
Only digital submissions are accepted.
Selection Procedure:
(residency grants)
UNIDEE – University of Ideas will prepare an initial short-list of candidates, amongst whom a joint jury will select the five residency grant winners. Final results will be released on or before Friday September 11th, 2015.
(production prize)
A joint jury will select one production prize winner amongst the Illy can prototypes produced by the five selected residents. All project prototypes will be presented during Artissima Art Fair (Turin, 6-8 November, 2015).
The participant submitting the best prototype will be awarded a production prize worth € 3000,00, and the announcement will be made at a public event during the fair.
Please note that the production prize is meant to fund research and production for the project proposed in the initial application, which might or might not be linked to the Illy can design prototype.
PLEASE DOWNLOAD THE APPLICATION FORM and GUIDELINES at
http://www.cittadellarte.it/unidee/opencallpartners.html
