Fonte Geral: Sindicato dos Artistas Plásticos de São Paulo
66º Salão Ararense de Artes Plásticas "Antonio Rodini"
Contemporâneo 2010
11 a 26 de Setembro de 2010 - Centro Cultural "Leny de Oliveira Zurita" - Araras - SP
Inscrições Abertas
Inscrição:
Seleção: 28 de Agosto de 2010
Abertura e Premiação: 11 de Setembro de 2010 às 20h
Local: Centro Cultural “Leny de Oliveira Zurita” - Av. Ângelo Franzini, s/n - Jd. dos Ipês - Araras - SP
CEP: 13.609-390 - Telefones: (19) 3541-5763 / 3542-5807 - E-mail: cultura@araras.sp.gov.br
O 66º Salão Ararense de Artes Plásticas “Antonio Rodini”, modalidade contemporânea, é promovido pela Prefeitura Municipal de Araras - SP, através da Secretaria Municipal de Ação Cultural e Cidadania e faz parte do Calendário Cultural do Município, integrando as comemorações da semana da pátria.
A inscrição é totalmente gratuita e serão aceitas até 2 (duas) obras por artista em cada categoria: pintura, desenho, gravura, escultura e pesquisa.
Os trabalhos inscritos serão submetidos à Comissão de Seleção e Premiação que escolherá as obras a serem expostas e concederá 9 (nove) prêmios: Prêmio "Prefeitura Municipal de Araras" (aquisitivo no valor de quatro salários mínimos), medalhas de ouro, prata e bronze, Prêmio "Centro Cultural Leny de Oliveira Zurita”, Prêmio "Antonio Rodini" e três menções honrosas.
O regulamento, a ficha de inscrição e a relação das obras aceitas na fase de seleção estarão disponíveis no Centro Cultural “Leny de Oliveira Zurita” (Avenida Ângelo Franzini s/n - Jd. dos Ipês - Araras - SP - CEP: 13.609-390) e no link abaixo:
REGULAMENTO / FICHA DE INSCRIÇÃO (clique aqui)
IX Bienal Internacional de Acuarela - México
Prezado(a) Artista,
Cumprimentando-o(a) cordialmente, sirvo-me da presente para comunicá-lo(a) sobre a realização da IX Bienal Internacional de Aquarela, com inauguração prevista para 05 de dezembro de 2010, no Museo Nacional de La Acuarela – México.
Serão selecionados 06 (seis) artistas associados do SINAP-ESP que enviarão 01(uma) obra cada na técnica da aquarela (sem qualquer outra interferência). Solicitamos aos participantes interessados o envio de 03 (três) fotos de suas aquarelas que obedeçam a proporção de 50 x 70 (sem moldura) até o dia 1º de setembro de 2010 que serão submetidas a seletiva por um júri.
Os 06 (seis) artistas participantes escolhidos deverão efetuar a entrega das obras sem “passpartout” na sede do SINAP-ESP até o dia 20 de outubro de 2010, mediante pagamento de R$ 400,00 (quatrocentos reais) para associados e/ou R$ 300,00 (trezentos reais) para membros da Diretoria referentes as despesas de embalagem e envio/retorno da obra.
As obras serão devolvidas aos artistas após o retorno do México, quando representantes do SINAP-ESP entrarão em contato.
Para os artistas residentes fora de São Paulo, o envio e devolução das obras serão feitos via correio.
Para quaisquer esclarecimentos, entre em contato com nossa sede através do Fone/fax: 011-3884-1727 ou por e-mail: sinapesp.aiap@uol.com.br.
Atenciosamente,
Antonietta Tordino
Presidente
SINAP-ESP/AIAP-UNESCO
MOSTRA DE CERÂMICA DA ABC - 2010
Confira Regulamento e Ficha anexos.
Show Us your Type - Hong Kong
» Concursos / por Cako Martin
Show Us Your Type é um projeto idealizado pela revista online Neue que a cada edição traz uma série de trabalhos que representam algumas metrópoles através de um estudo com tipografia e ilustração em posteres.
Nas edições anteriores foram ilustradas Nova York, Barcelona e Berlin, esta última recheada de brasileiros. No próximo número, designers, ilustradores, diretores de arte e outras pessoas são convidados a criar diferentes artes sobre Hong Kong. O prazo final para envio de trabalhos é dia 23 de setembro. A brincadeira com a tipologia e o nome da cidade são essenciais.
O projeto, que começou pequeno, conta com cada vez mais artistas no mural online. O resultado é surpreendente.
+ Informações:
Site: Show Us Your Type (http://www.showusyourtype.com/)
Fonte: Revista Zupi
Jan van Eyck Academie
Application deadline
1 October 2010
Jan van Eyck Academie
Academieplein 1
6211 KM Maastricht
The Netherlands
www.janvaneyck.nl
The Jan van Eyck Academie is an institute for research and production where artists, designers and theoreticians work alongside each other.
The JVE has positions available in the Fine Art and Design Departments for the next academic year, starting on 1 January 2011. Artists are invited to submit proposals for individual research projects; designers can apply for one of the projects formulated by the department.
FINE ART
The Fine Art department offers a unique space for experimentation, production, reflection and debate. Researchers conduct their artistic research in an environment that encourages questioning of the assumptions, forms, meanings and contexts that are tied to the practice of making art today. The Fine Art department welcome artists, individuals and groups, without stipulating conditions regarding form, content and media.
Artistic practice is supported by a programme of events and sustained conversations organised by the (advising) researchers. The academy offers expertise in all media and production areas, in-house or in cooperation with partner organisations, and encourages publishing through the Jan van Eyck publication series.
The Fine Art Department is headed by advising researchers Hans-Christian Dany, Imogen Stidworthy and Nasrin Tabatabai & Babak Afrassiabi.
DESIGN
Candidate researchers for the Design Department can apply for one of the following projects:
FORBIDDEN CITY
Strijp-S is an urban development plan that tries to turn the 66-acres of the former Philips factory in Eindhoven from a 'Forbidden City' into a ' Creative City with an unequalled character'. The project is a visual research into new divisions of labour that emerge as soon as heavy industries and mass-production are replaced by what is coined as cognitive, immaterial or affective labour.
The project calls for designers, urbanists, video- and filmmakers.
Advising researcher: Florian Schneider
*LATENT STARE*
Exploring the practice, methods and messages of type-design, *Latent stare* proposes a gathering and study of selected typefaces and stories, from the 1900s onwards – when technology had accelerated, and begun to affect, the production and distribution of new types. The selected material is affiliated to a political, social or spiritual set of beliefs which feed back into the typefaces creation, design and/or use.
Advising researcher: David Bennewith
NEUTRALITY_Polity and Space in the Post-Eurocentric City
Researches the modalities and substances that contemporary practices of neutrality give rise to and contribute in sustaining. The project will aim at outlining innovative paths towards design agency and creativity and analyses forms of transformation and control of contemporary space.
Advising researcher: John Palmesino
OPEN VIDEO
HTML5 is supposed to open a new chapter in web design and web-based publishing. Open Video will research into past and present open-source video implementations to develop an independent platform that explores the specific potentials of self-authored and self-managed, open-source video publishing initiatives against the backdrop of the overwhelming dominance of mass-media like content providers.
The project calls for code developers, web designers and digital content producers.
Advising researcher: Florian Schneider
REMOTE SENSING_Biopolitical Imagery
Investigates how new remote-sensing technologies are shaping and carving contemporary spaces of operation and sovereignty, and focuses on the agency that these new technologies elicit and entail. The project singles out a series of contemporary situations and traces the complex links and exchanges between the production of new images through remote sensing and the outline of new legal and governmental issues.
The project calls for data visualisation designers, interaction designers, urbanists, architects, photographers, video and filmmakers.
Advising researchers: John Palmesino and Florian Schneider
More information on each project on www.janvaneyck.nl.
The Design Department is currently headed by advising researchers John Palmesino, Florian Schneider and Daniel van der Velden.
MORE INFO
Please visit our website at http://www.janvaneyck.nl for more information on facilities, applications, and the Jan van Eyck Academie in general.
Fonte: E_Flux
NOTÍCIAS
BLOG MITOS VADIOS 2 - CARTA MANIFESTO
O blog Mitos Vadios 2 (http://mitosvadios2.blogspot.com), do artista Ivald Granato, convoca artistas a se manifestar em frente à Bienal de São Paulo, em 21/09/10, às 17h.
Leia a íntegra do manifesto:
CARTA MANIFESTO - MITOS VADIOS 2
Para todos os artistas de todos os estilos e tendências das artes visuais
Está aberta a convocação!
Todos os artistas estão convocados para se manifestar em frente à Bienal de 2010, que acontecerá em São Paulo, em 21 de setembro, às 17h.
Será a BIENAL ALTERNATIVA 2010.
Depois da última Bienal, em 2008, pedimos uma real e profunda reflexão, pois nela não vimos Arte em suas várias representações.
Para este ano de 2010, já se desenha uma Bienal confusa, com declarações sem conceito definido: arte política, terreiro, posições desencontradas, explicações que mudam a cada dia, parecendo visar apenas agradar à mídia, sem uma verdadeira preocupação com a Arte, sem pesquisa sólida ou escolha fundamentada.
Já se faz notar que a Bienal maquiará uma feira, alternando interesses de mercado e grupos de amigos, em acordos previamente acertados, sem nenhuma lógica ou justificativa.
Nenhuma pesquisa – ou conselho – para a formação do grupo curatorial, exemplo da Bienal de Walter Zanini, Sheila Leiner (a grande parede) ou ainda Roberto Muylaert (que gerou tradição e Ruptura).
A chamada de ordem do poder grita mais alto e não é, necessariamente, a real expressão da arte.
Arte política se faz por simbolismos, denunciando poderes autoritários ou regimes de repressão.
Daí a ideia de fazer política democrática organizando uma manifestação para que todos os artistas possam levar sua mensagem através de uma obra, de qualquer estilo ou forma, para fazermos um grande cordão em volta do prédio da Bienal, fazendo mostrar que não se conhecem a produção real da arte.
Depois da crise, o mercado tenta novamente estender seu domínio, mas devemos ter uma posição firme, clara, para um melhor e mais promissor mundo da arte, promovendo uma ação e reflexão, para alimentar com consistência a nossa cultura.
Será esta a possibilidade de mostrarmos o que verdadeiramente se produz atualmente.
Proponho logo após o cordão fazermos uma grande montanha de obras e vamos descobrir qual será o seu destino.
Mostrando claramente as parcerias disfarçadas de conceitos contemporâneos de destino certo: o mercado especulativo, que prevê retorno do investimento, a bolha (ilusória) da arte.
Pelo muito que já foi divulgado na mídia e em redes sociais da internet, a 29ª Bienal será um “make up” (influência da São Paulo Fashion Week?), uma feira com interesses de grupos que faturam no mercado de arte e artistas participes destes acordos “the dark side of the moon” da Bienal. Sorry, Pink Floyd, pela lista dos “Deuses do Olimpo”.
E o público? Ninguém pensou na importantíssima função sócio-educativa para as massas?
Nós pensamos e vamos fazer a Bienal de todos.
COMPAREÇAM COM UMA OBRA DE QUALQUER FORMATO OU ESTILO.
VAMOS CRIAR UMA BIENAL DEMOCRÁTICA e não oficial, como nunca foi visto, vamos ativar o circuito artístico e mostrar que BIENAL POLÍTICA tem que ser DEMOCRÁTICA.
IVALD GRANATO 2010
Consulta Técnica: Octaviano Muniz / Rita Alves
ARCOmadrid
30th International Contemporary Art Fair, ARCOmadrid
Dates: 16-20 February 2011, open to the public from 18 February
Venue: Halls 8 and 10 at FERIA DE MADRID
Organised by: IFEMA
www.arco.ifema.es
ARCOmadrid, the International Contemporary Art Fair, to be held from 16th to 20th February 2011, has already prepared the guidelines for its new project. And to set them in motion, it has formed a new Organising Committee, whose members are: Helga de Alvear (Galería Helga de Alvear); Rebeca Blanchard (Galería Nogueras Blanchard); Luciana Brito (Luciana Brito Galeria); Pedro Cera (Galeria Pedro Cera); Christopher Grimes (Christopher Grimes Gallery); Soledad Lorenzo (Galería Soledad Lorenzo); Guillermo de Osma (Galería Guillermo de Osma); Moisés Pérez de Albeniz (Galería Moisés Pérez de Albeniz); Rosemarie Schwarzwälder (Galerie Nächst St. Stephan Rosemarie Schwarzwälder) and Max Wigram (Max Wigram Gallery).
Guidelines for ARCOmadrid_2011 project
The framework for the 30th ARCOmadrid project involves a reduction in the size of the fair and its distribution in two Halls 8 and 10.
A new feature of the project is that the next editions of the SOLO PROJECT section will be centred exclusively on Latin America. Another noteworthy introduction is OPENING, a new programme inviting young galleries from emerging European countries, setting aside a separate space within ARCOmadrid especially for them. Furthermore, another new addition is FOCUS RUSSIA, a programme inviting galleries and projects showcasing the very best of current art production from Moscow and Saint Petersburg.
With regards to the Experts Forum, the format will change to make it more of a meeting place for museums, art centres and biennial directors, curators and galleries but will still bring to Madrid our 100 key curators and museum directors..
ARCOmadrid 30th Anniversary
The International Contemporary Art Fair is celebrating its 30th anniversary in 2011; three decades to its credit working wholeheartedly for the promotion of collecting and the development of a network of infrastructures for Contemporary Art. This experience has earned ARCOmadrid a solid reputation as a platform for the art market and a meeting place for gallerists and collectors.
To commemorate the anniversary, the upcoming event is preparing a number of incentives and actions conceived to attract to Madrid all of those art world agents in the art world who have enjoyed ARCOmadrid in the past.
Fonte: E_Flux
1st Ural Industrial Biennial
Shockworkers of the Mobile Image
9 September – 10 October 2010
Opening days:
8-12 September 2010
Ekaterinburg, Russia
Curators: Cosmin Costinas, Ekaterina Degot, David Riff
The National Center for Contemporary Art (NCCA) and the Sverdlovsk Region Governor's Office are pleased to announce the opening of the 1st Ural Industrial Biennial. The biennial will take place in the Ural Workers Printing Press (the main project) and in four large industrial plants (the special projects) in the city of Ekaterinburg. The Ural Industrial Biennial is a format initiated and developed by the director of the National Center for Contemporary Art, Ekaterinburg branch, Alisa Prudnikova.
Ekaterinburg, formerly Sverdlovsk, is the capital of the Soviet Union's industrial heartland, the Ural. When the USSR collapsed, the city's many heavy industries fell prey to economic malaise. But today, Ekaterinburg has become one of the hubs of Russia's resource economy, a site of accumulation following an era of shock privatization, a place where people dream with BRICs and awaken to the harsh realities of economic crisis. How should we understand all this new investor architecture, empty as of yet, all these new service industries, all that new imaginary "symbolic capital" produced by "creative professionals" and their underlings? What role does and can contemporary art play in such a place, when it comes to the half-operational spaces of Soviet industry? Can it be more than a shot in the dark, a fastmoving consumer commodity, a medium for gentrification, a plaything of the superrich? Can it be more than a reproduction?
The biennial's title is "Shockworkers of the Mobile Image," and its main venue is the Ural Worker Printing Press, a constructivist building in the center of Ekaterinburg. Built in 1929-1930, this space prompts a dialogue with the most contradictory period of Soviet history, when the party sent shock brigades to build heavy industries in the middle of nowhere. Their superproductive labor was supposedly voluntary, heroic, based on enthusiasm and affect, but overseen by a growing security apparatus. Foreign experts and internationalists participated, reproducing and implanting mobile images of Fordist modernity. Their engagement was genuine, but remained blind to the harsh reality of intensifying exploitation. In many ways, Russia's transition to global post-Fordist capitalism is no less drastic, and today's global artists, filmmakers, and architects are shockworkers, too, and internationalists, no doubt, capable of an affective solidarity much like that of the pre-fascist 1930s. They come to distant cities, working nights to build temporary factories on the sites abandoned by industry, factories that reproduce images, affects, and social relations, factories where free time takes on form and becomes a commodity. In Ekaterinburg, this temporary factory taps into a vast reservoir of amateur creativity, harkening back to an age when it seemed like all the shockwork was over... We want to ask: who is really the worker in this new factory? The artist? The curator? The audience? What happens when these workers leave? And what happens when they return?
Curated by Cosmin Costinas (Amsterdam/Utrecht), Ekaterina Degot (Moscow), and David Riff (Moscow/Berlin), "Shockworkers of the Mobile Image" draws together the work of more than 40 artists and filmmakers in a dense curatorial narrative.The exhibition consists almost entirely of copies, reproductions, rips, reconstituted objects and long-distance works, including contributions by: Yuri Albert, Tarsila do Amaral, Pablo Baen Santos, Yael Bartana, Bela Balazs Studio, Guy Ben-Ner, Blue Noses, Christian von Börries, Serguej Bratkov, Alex Buldakov, Cao Fei, Olga Chernysheva, Chto Delat, Evgenia Demina, Jimmie Durham, Harun Farocki, Daniel Faust, M.M. Fontenelle, Joris Ivens, Christian Jankowsky, Ilya & Emilia Kabakov, Nikita Kadan & Alexander Burlaka, Kolumne Links, Naroa Lizar, Roman Minin, Andrei Monastyrski, Rabih Mroue, Ciprian Muresan, Deimantas Narkevicius, Amshei Nuerenberg, Johannes Paul Raether, Araya Rasdjarmrearnsook, Andreas Siekmann & Alice Creisher & Max Jorge Hinderer, Sean Snyder, Praneet Soi, Hito Steyerl, Mladen Stilinovic, Taller E.P.S. Huayco, Avdey Ter-Oganyan, David Ter-Oganyan, Florin Tudor & Mona Vatamanu, V.M.Volovich, Lin Yilin, Vadim Zakharov, among others.
The exhibition at the biennial's main venue is accompanied by a program of special projects, curated by Alisa Prudnikova. It inhabits the operational or defunct premises of some of Ekaterinburg's largest industrial plants. Artists from Ekaterinburg and elsewhere in Russia and from abroad will turn these production sites into a heterogeneous territory for experiments in the industrial environment. Factory spaces themselves become objects of artistic production that pursues a diversity of aims, be they critical, poetic, or social. The special projects program features contributions by artists from Russia, Great Britain, Spain, Germany, Mexico, the USA, France, Finland, and Sweden.
The biennial's opening will be accompanied by an international symposium dedicated to discussing the industrial past and the post-industrial present.
On the occasion of the opening, the biennial will publish a catalogue in two volumes, one of them dedicated to the main venue, the other to the special projects program. Contributors include Oleg Aronson, Keti Chukhrov, Boris Groys, Hu Fang, Ben Seymour and Hito Steyerl.
Biennial venues:
Main venue: Ural Worker Printing Press (House of Print)
Special projects: Verkh Iset' Metallurgical Factory, VIZ-Stal', Ural Heavy Machines Plant, old Uralmash House of Culture, Colored Metals Factory (historical building), Sverdlovsk Worsted Factory
Commissar: Alisa Prudnikova
Intiator: National Center for Contemporary Art (NCCA)
Co-Initiators: Governor's Office of the Sverdlovsk Region, the Sverdlovsk Regional Government with the official support of the Ministry of Culture of the Russian Federation
Organizer: National Center for Contemporary Art, Ekaterinburg branch
Co-organizers: City Administration of Ekaterinburg, "New Art" Regional Public Foundation in Support of Contemporary Art
Fonte: E_Flux
Taipei Fine Arts Museum presents Taipei Biennial 2010
Taipei Biennial 2010
7 September – 14 November 2010
Grand Opening ＆ Press Conference:
7 September 2010
info@taipeibiennial.org
www.taipeibiennial.org 
September Events: 3 – 26 September 2010
Opening Week: 7 – 12 September 2010
Organizer: Taipei Fine Arts Museum
Curators: Hongjohn Lin, Tirdad Zolghadr
TB10
TB10 is reconsidering the biennial format through a number of structural proposals. Although we have no curatorial master plan to scream from the rooftops, a potential leitmotif is the question of what is distinctive of biennials today. What are the conditions of production a biennial creates, what can you do with a biennial that you cannot do with anything else.
Some working premises are as follows
• TB08 Revisited: Avoiding the usual tabula rasa, TB10 will build on ideas and projects from previous Taipei Biennials. For example, a number of TB 2008 artists are invited to critically revisit their previous contributions.
• Two More Years: Artists first approached for TB10 were involved in a wider curatorial discussion. This resulted in a transfiguration of TB10 into a two year process, leading to a series of smaller exhibitions 2012. The process will be sustained by an academic framework that is currently being finalized, ideally resulting in sustainable art-pedagogical infrastructure. Our partner is the Taipei Contemporary Art Center, a venue which actually began as a commissioned artwork by Jun Yang for TB 2008.
• The Show: is deliberately restricted to 23 featured artists. Among the 37 artworks, nearly half are new commissions, many more are ambitious adaptations of older work. Much of the work is process-oriented, and a third is collaborative in some manner, with some 50 further artists being included via such collaborations.
• Sputniks: Three critical companions are invited to consistently produce unsparing feedback, also amounting to interventions during TB10. The exercise hopes to upend the polarity of the corrupt intellectual vs innocent autonomy.
• September Events: The ambitious events program will kick off before the exhibition, offering a more composite timeline than usual.
• Artist Cinema: The screening program includes 35 films by 31 artists. The artist-designed cinema contraption offers the viewing conditions of a movie theatre.
• Lecture Theater: Actors and actresses enact essays written by art critics and scholar. A performative effect and translational gaps are added to the original text for the local audience.
• Taipei Art Spaces: Eights Taipei venues have articulated various levels of collaboration. These are neither parallel programs nor curated contributions, but unpredictable interfaces adopting different savors and criteria from case to case.
Artist List
Can Altay
Chang Yun-han
Chris Evans
Shahab Fotouhi
Mario García Torres
Christian Jankowski
Jao Chia-en
Silvia Kolbowski
Pak Sheung-chuen
Olivia Plender
Michael Portnoy
Allan Sekula
Larry Shao
Shi Jin-hua
Hito Steyerl
Wang Ya-hui
Claude Wampler
Wong Wai-yin
Carey Young
TB08 Revisited
Lara Almárcegui
Burak Delier
Irwin
Superflex
Contact
Taipei Fine Arts Museum
181, Zhong Shan N. Road, Sec. 3, Taipei 10461, Taiwan
Tel +886 2 2595 7656 fax +886 2 2585 1886
info@taipeibiennial.org
www.taipeibiennial.org
Fonte: E_Flux
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