Call for Proposals

Deadline: April 15, 2010

www.harpofoundation.org

Mission
Harpo Foundation was established in 2006 to support artists who are under recognized by the field. This applies to all artists whether emerging or further along in their careers. We view the definitions of art and artist to be open-ended and expansive. 


2010 Funding Focus
The relationship between art and site in an era defined by digital technologies is the focus for Harpo Foundation’s 2010 funding cycle. Of specific interest is the dialectic between the non-locality of the digital world and the existential physicality of our everyday environment. For example, our sense of place is being drastically altered by web space, which brings geographically distant locations together to form a new kind of locality, yet what’s small, local, personal, political and natural informs our vision for a sustainable future; the search for place-bound identity persists.When site-specific art emerged in the late 1960’s, the physical and experiential qualities of a fixed and permanent location inspired the art. Since then, ’site’ has been redefined endlessly, turning the tangible, grounded concept into something fluid and transient. Interestingly, in our everyday lives, the local is often seen as losing ground to globalizing dynamics, evoking the question, has place become an ephemeral, fleeting image?

The Foundation is interested in how artists are reclaiming the significance of the local while simultaneously placing themselves and their creative lives within a global context. We are interested in supporting projects that are grounded in the real world, that will draw upon local phenomena, activate social relationships to inspire a community, trigger memory to recall a place’s unique history, to name just a few of the ways we see artists addressing site today. We are also interested in supporting projects that explore the idea of place using technologies that challenge our traditional notions of what qualifies as locality.

In pursuing this direction for one year, we hope to shed light on how artists today are locating or siting their work in a dematerializing world and the Foundation will prioritize projects that expand, explore, critique, reconcile, and challenge this 21st century phenomenon.



Deadline
The deadline for proposals is April 15, 2010.More information
Visit our website at

 

www.harpofoundation.org for more information about the Foundation’s past grant recipients, proposal guidelines, and process.Julie Deamer, Executive Director
Harpo Foundation
4423-1/2 Mont Eagle Place
Los Angeles, CA 90041
Fax: 00 +(1) 323-254-0532

jdeamer@harpofoundation.org

CAMILLA SINGH

Lecture

Tuesday, 15.12.2009., 7pm, Lecture Hall, HDLU

Camilla Singh is an artist and independent curator.  During her presentation she will present images and ideas from four exhibitions she curated at the Museum of Contemporary Canadian Art (MOCCA) in Toronto, Canada between 2005 - 2008, with a specific focus on the communications strategies that were embedded in the exhibition layout and design.

Demons Stole My Soul: rock’n roll drums in contemporary art (2005)           

Eat the Food! (2007)

DAMN YOUR EYES: the infinite dimension of sound (2008)

Dyed Roots: the new emergence of culture (2008)

 

Vittorio Urbani in Zagreb

HDLU

Lecture hall, 14. 10.2009 19,00 h

Vittorio Urbani, born in Ferrara (Italy), 1954. Lives in Venice.

 

Founded in 1993 in Venice “Nuova Icona, Associazione Culturale per le Arti”, a non-profit art organization dedicated to new art production which he since directs. The association has 40 members.

            personally curated or co-curated 180 shows of contemporary visual arts as the director/curator of “Nuova Icona” and also on call by foreign galleries/institutions..

-     edited or co-edited about 80 catalogues and publications for “Nuova Icona”.

-           organized or co-organized:

-           in February 1994, the seminar “Progettare l’Arte Contemporanea” at the Accademia di Belle Arti of Venice;

-           in December 1999 the seminar “La produzione di progetti di arti visive come risorsa economica alternativa alla monocultura turistica di Venezia” (Fondazione Querini Stampalia, Venice).

-           In June 2001 the round table of international curators “Venice Agendas” in collaboration with Winchester School of Art, London (Teatro Consiglio di Quartiere, Giudecca, Venice);

-           in June 2003 “Venice Agendas II” in collaboration with the same institution + Cardiff School of Arts and the British Council (Hotel Metropole, Venice).

-           “Venice Agendas III”, Hotel Metropole, Venezia, June 2003;

-           “Venice Agendas IV: Neighbours in Dialogue”, Hotel Metropole, Venezia, June 2005;

-           organized and curated (with Dora De Diana and Martina Pizzul) in the years 2002 and 2003 the series “Guggenheim Jeune” a string of talks and lectures by artists at the Guggenheim Museum in Venice.

-           participated as invited speaker, at the following meetings on art matters:

-      “Giornata di Studio sull’Archivio Storico delle Arti Contemporanee”, Venice, 

        ASAC, 26/2/94

-      “Arte allo Specchio”, Padoa, 23/10/94              

-      “Emergenti nell’Arte”, Padoa, at the Caffé Pedrocchi, 22/1/95

-      “Arte Nuova a Venezia”, Venice, Scuola dei Calegheri, 25/10/96

-      “Il Restauro del Contemporaneo: i problemi giuridici e il circuito delle informazioni”, Venice, Cà Bembo, 26/10/96

-           “Arte contemporanea e scuola: il senso della comunicazione”, Venezia, Ist. Statale d’Arte, 28-30/11/97;

-           “Art-criticism and Curatorial Practices, East of the EU” care of AICA Turkey, Istanbul,   September 2003

-           “Radar”, conference at Telecom Future Centre,  September 8 / 9, 2004, Venice;

-           Convegno “Spazio, Ambiente, Metamorfosi” organized by the University of Venice and La Sourbonne, Paris, 2 / 3 novembre 2004, Auditorium di Santa Margherita, Venice;

-           “Continental Breakfast- the expanded map”, organized by “Trieste Contemporaneo”, Palazzo Zorzi-UNESCO, Venice, June 8 / 9, 2005

-           visiting curator at Vancouver (B.C., Canada) in September 1999; to Istanbul (Turkey) in October 2000; to Baku (Azerbaijan) in February 2004; to Cardiff (UK) in November 2004; to Rotterdam (Netherlands, Spring 2004).

-           Selector (judge) for the art prize “Perspectives”, Ormeau Baths Gallery, Belfast, September 2004 and called as co-Selector in the Committee of the Kyoto Prize Commission, June 2006.

-           consultancy for the National Pavilion of Turkey (2003) and USA  (2003) in the Biennial of Visual Arts of Venice, plus actively collaborated to the realization and management of the National Pavilions in the Biennale for Ireland (1995, 1997, 1999, 2001, 2003, 2005); Turkey (2001, 2005), Scotland (2003), Wales (2003, 2005); India (2005); Finland (2005).

-           provided consultancy and collaboration to the National Pavilions of Ireland in Venice Architectural Biennial in 2002 and 2004.

 

  - bibliography (not complete):

 

-     Records of the seminars and meetings (see above);

-     “Forma - nuova scultura italiana”, Venice, Liège, Dublin, Winchester, 1996/97. Text for the catalogue of the show;

-     “Biennale dei Giovani Artisti di Vigonza”, Villa Bettanini, Vigonza,  Italy 1996. Text for the catalogue of the show;

-     “Giuseppe Pulvirenti”, Venice, 1996. Text for the catalogue of the show.

-     “Host: Daniel Harvey and Heather Ackroyd”, Venice, 1996. Text for the catalogue of the show;

-           -     “Robert Morris: Tar Babies of the New World order”, Venice, 1997. Text for the catalogue of the show;

-     “Maurizio Pellegrin: La Stanza Cinese”, Venice, 1997. Text for the     catalogue of the show;

-      “Rosso_Casali”, Venice, 1997. Text for the catalogue of the show;

-     “Transitional - Charles Mason, Stephen Elson, Terry Smith”,    Venice 1998. Text for the catalogue of the show.

-    “Too beautiful to be true: Enzo Apruzzese, Maurizio Pellegrin, Giovanni Rizzoli, Paolo Ravalico Scerri” text for the       catalogue of  the show held in Istanbul in  2000

-     “Starting Over; Maurizio Pellegrin and Charles Mason” Text for the catalogue of the shows held in London 2001 and Venice 2002

-     “Where is my Home? Graham Fagen and Flavio Favelli” Text for the catalogue of the shows held in London 2002, Istanbul 2003 and Venice 2004.

-      “Through the Window: Peter Liversidge and Antonio Riello”, Text for the catalogue of the show held in London 2003

-   “Venice Agendas III”, Conference of International Curators, text in the publication,Hotel Metropole, Venezia, June  2003;

-    “Istantanea di un Duca Morto: solo show by Fabio Mauri”. Text for the Catalogue of the show, held during and under the auspices of the Biennale of Venice 2003.

-    “Continental Breakfast – the expanded map”, essay in the publication by “Trieste Contemporaneo”, publication related to the conference held in Palazzo Zorzi-UNESCO, Venice, June 8 / 9, 2005

-     “Venice Agendas IV – Neighbours in Dialogue”, text in publication, Hotel Metropole, Venice, June 8 / 9, 2005

-      “Space: architecture for art” essay in the book published by Circa Art Magazine, Dublin, 2005

-    “Engaged in Recreation” works by Antonio Riello, Lorraine Burrell and Peter Liversidge, text for the catalogue. Show at Borusan Art Center, Istanbul, November 2005

 

 

www.nuovaicona.org

 

DARIO ŠOLMAN

The Heart of Perspective, the Making of the Film

2001-2009 New York

 PM Gallery

 

6.10. - 01. 11.

 

The Heart of Perspective, the Making of the Film

2001-2009 New York

 

The Heart of Perspective, the Making of the Film, is the experimental art project that includes drawings, animation, video, storyboards and written materials. Web site filmlog.org (www.filmolog.org) is integral part of the project, following its development chronologically. All the multimedia components research related visual and narrative themes, and conceptually resemble the early stage of the film production. Diverse elements that make a series of visual/narrative modules will never reach synthesis and become a conventional film. The non-linear and open structure will remain.

Exhibition was made possible by the grants of the Ministry of Culture Republic of Croatia and City of Zagreb, City Office of Culture, Educations and Sport, Jerome Foundation and FaceCroatia. 

 

 

Dario Solman and Conor McGrady: A Conversation

 

 

CM: In your recent work I know that you use perspective in the title, with connotations of how perspective functions in space – how it impacts the dynamics of power, the spatial dimension of experience.

 

DS: In the arts, perspective is a drawing technique used to create an illusion of three-dimensional space on the two-dimensional surface of the paper or canvas. More broadly, perspective describes the way the eye interprets space.

 

I remember art history classes about pre-renaissance art at the Zagreb Art Academy. In the Gothic or early Renaissance painting, before perspective was used, sizes of figures in a painting were established by their significance: Jesus was the biggest, saints were second in size, rich patrons were smaller, and so on according to the hierarchy. This made me wonder: if a person from that era looked at perspective painting, they would wonder why a person appears larger, just because they happen to be closer in space. It’d seem like a trivial reason compared to the totality of the mythology.

 

An interesting thing about the use of perspective is that it always implies a subject; it implies an eye that is looking at the given scene. This is unlike some other modes of presentation such as 2D projection in Egyptian art, or isometric projection in technical drawing. In some of my videos like Worship and Screening, I use the isometric projection. It has an interesting effect - it positions the viewer in an unclear relationship to the observed and gives it a God-like omniscient view.

 

However, when we use perspective in realistic painting, which is based on the mimetic depiction of reality, we want the image to function as a window into another word. Something similar happens in other forms of art like novels and films. Perspective there describes the relationship between the story and storyteller. Their main attraction is that we are transported to another place and that we forget that we are looking at art. The audience is not supposed to be aware of discreet techniques that enable this experience. I use perspective as a sort of metaphor for these discreet techniques.

 

CM: In terms of techniques of engaging the viewer, I’m interested in models of presentation that feature iconic images; in particular as a way of looking at power and how it manifests in individuals and social situations. Some of the recent work directly uses iconic imagery - a businessman on a throne with two lions for example. This is not something drawn from contemporary reality, but is more about desire - the desire for power. Its an idealized depiction of how many businessmen would like to see themselves – on a throne, surrounded by lions.

 

DS: That painting is loaded with mythological meaning.

 

CM: I’m interested in the phenomenon of archetypes, which is a whole other discussion in itself. Five years ago my work was clearly about situations of military occupation and social control, largely drawing on my background in being from in N. Ireland, but these days it’s more ambiguous, tapping into psychological or mythological space. It’s imagined social orders or imagined states of being, either within individuals or within collectives that interest me. For example, there is a policewoman in a painting breastfeeding a baby in a cornfield. There are certain populations who really identify with this form of militant maternalism – that they don’t divorce the role of being a mother with that of being a servant of the state. It’s based on a group of pro war, anti- abortion protestors I once saw at a counter demonstration to an anti-war march. One of them had a placard that read, “Protect Our Unborn Troops”. The idea is that this is not just an embryo - this is the next generation of troops. This is almost thinking on the level of science fiction. Militarized women are breeding the next generation of fighters against an imaged enemy in a war with no end in site. It’s still about an imagined social space – the idea that the nation is an imaged social space and the mythologies that go into constructing it are a mixture of reality and falsehood. The work still comes from real situations of civil unrest - but moves into imagined realms of space or imaged social order. Not just that imagined by right wing lunatics, but also how this idealized sense of being filters into the general populace. In most idealized space there is some element of nature. Utopia, military or otherwise, always has a natural dimension to it.

 

DS: Looking at your work I see condensed moments of narrative that appear as excerpts from a larger whole. For example you have a civilian leading a group of policemen. This mysterious moment inspires the imagination of the viewer to guess and recreate what happened before and after. A whole story is suggested through a single image, an excerpt.

 

Classic European Christian painting tells a story, but not in a continuous linear way. There is a superstructure i.e. the Bible leads you, and between images, you’re given enough space to fill in the blanks and have a creative response. This is unlike the classic 19th century novel or conventional Hollywood film, where you’re constantly told what’s going on, where to go, where to look; you’re led by hand from point A to point B. You’re not allowed, like in an Ozu movie to look sideways, into a scene not strictly connected with the storyline. However, once you’re given some creative space and open multiple levels, than the audience can engage. It’s a form of interactivity - a very popular word in this computer era. But there is interactivity that is much more subtle. For example when you’re reading a book - your imagination is working, creating images and characters.  When audience is creatively invested, the separation between the artist and public starts to blur.

 

I’m not good at story telling and don’t function well in the linear way. My creative process is based around narrative and visual modules that I experiment with and connect in different ways. The Heart of Perspective, Making of the Film project is a result of such process, where all the drawings, animations, videos, storyboards etc. contribute to a larger whole.

 

CM: You mention cinema, and one thing that I think we have in common is definitely an interest in cinema. In terms of my own work the use of the large scale is cinematic. I want a cinematic impact from some of the work –to accentuate the use of iconic imagery.

 

DS: The title of the project refers to filmmaking. But the project will never reach the level of synthesis to become a conventional feature film. I think of it as a pseudo-film – something similar to an early phase of the film production; where we can sense the full potential of film’s multimedia layers, but where the connections are loose and allow for an interactive response.

 

The time component is interesting here. In the so-called time-based arts such as film or music, we are forced to see the work in a linear way. But in the 2D art, we are presented with everything at once. We still need time to observe the work, but we choose in which order to do it. I’d like to preserve this interactive aspect of 2D art in this pseudo-film. That’s why the animations are kept short. When you enter the gallery, your gaze travels around and you can choose to view the work in any order you like.

 

I ‘m curious about your drawings. I notice that you largely work in black and white.

 

CM: To complement the big paintings I was working on a few years ago I started to get more interested in space – in militarized space, or controlled space where people exist in extreme circumstances. Belfast under militarized circumstances produced liminal spaces  - spaces of absence and removal – both physical removal and incarceration and also the absence of aspirations, or the ability to transcend this environment. I wanted the work to relate to this sense of absence, so I stripped out the color to accentuate the white quality of the paper or canvas. My interest in the symbolic aspect of white – with ideas of purity, removal, etc. was key in shaping this body of work. On a purely aesthetic level I also get a lot of satisfaction from stark graphic imagery – black and white. Maybe it’s from growing up with comic books – black and white cinema, black and white photography, printmaking…

 

I produce a lot of drawings in particular, which brings up ideas related to the artist as a producer of images. A friend of mine recently brought up the idea of visual pollution - that at present we are absolutely drowning in a glut of images. This poses a question to us as producers of images. How do we argue the case for our own images – how do we give them weight and gravity, transcend, skirt or cut through the overwhelming volume of images that exist around us?

 

DS: It’s hard to imagine how people 300 years ago perceived paintings. Recently I’ve visited Venice. It was so interesting to see these well-known paintings in their original context. Back then this was the only way you could see a painting:  in a distance, behind altar, as part of the church architecture, only for a brief moment during the mass.

 

CM: Paintings in churches during this time had a tremendous power. They were very important in the manipulation of people’s thoughts and desires. There is the idea that today there are so many images that they have lost their power – but the power of images is paramount. In particular, if you look at how people choose to dress, the way they look, images are still key in creating and shaping desires. For those who argue that images have no power the situation of war is another example. Images of war are ubiquitous, but there are certain images of war that will never be shown in newspapers or on TV. In the media, images of death and mutilation are simply not shown. So images do retain this immense power. Political cartoons, pornography – images of the human body are still taboo and there are complex sets of taboos in place about presenting visual information.

 

DS: Because we are exposed to so many images, the direction of our gaze is not just defined by images themselves, but also in the way they relate to each other in the giant superstructure of mythology. This has a huge effect on the images we create ourselves. As a landscape painter responds to the landscape - we respond to the cultural landscape we’re living in. We don’t react to one image, but to a complicated sea of images and information. So we produce some kind of multidimensional mythological structures.

 

CM: The multi-dimensional power of images is important. I’ve always been drawn to artists who were visionaries, who really open up this power. For example in Cinema you have Kurosawa, Tarkovsky, filmmakers who create these incredibly rich visual tapestries.

 

DS: While the visual artists are pushed to the side to became critical and detached commentators, the cinema takes the center stage in contemporary culture. For example Kurosawa - he wasn’t just making critique of the post-war Japan in the 50s and 60s, he created his own rich mythologies.

 

CM: Kurosawa and Tarkovsky transcended the narrow agenda of the time and place in which they were working with the scope of their vision. You could argue that today the meta-narrative of the artist as visionary doesn’t exist any more – and there are plenty of artists who are not interested in this idea. Filmmakers like these two embraced broad overarching frameworks and big themes - from spirituality, to crisis, to the human condition  - epic human themes.

 

DS: I liked the way you used the word visionary. It’s a good word to describe a myth architect.

 

CM: Visionary can also apply to the details – the way Tarkovsky weaves in natural elements – the wind blowing grass and trees, or Kuroswa’s cloud scenes. That while they are not essential to driving the narrative, they broaden the scope of the vision of the film, adding to a richness of visual information. These days I don’t feel qualified to answer who would characterize as a visionary artist – Bela Tarr maybe.

 

DS: To go back to your work, do you think the mythologies it embodies change depending on the context it’s viewed in? For example, exhibiting in Croatia.

 

CM: It’s interesting to exhibit in Croatia in terms of some of the ideas we’ve been discussing. Also in terms of the shifts from communism to capitalism, or a one party state to a democracy. I’m from a supposedly democratic state (N. Ireland) and live in one (United States) yet there is a fine line between the supposedly democratic state and the police state. In particular in the UK, which is supposed to be a democracy, yet ran a police state in its own back yard (N. Ireland) openly and plain for all to see. The United States has many of the attributes of the police state. The US is also interesting in that its flexibility allows all resistance and protest to operate within the framework of democracy, and become subsumed into the broader fabric of the system. Your protest is democratically allowed – its part of the system – and is subsumed within the fabric of the system and therefore neutralized. You can register your opposition to the war, as it’s your right – but it doesn’t seriously threaten the system and the war goes on. So it’s a fluid system in that it contains and embraces its opposition – but neutralizes them.

 

DS: It’s interesting the way propaganda machine is always associated with communist states. The common perception here is that the U.S. is free of ideology and that everything is in some natural state of being. Actually post WW2 communist propaganda as manifested in posters, paintings, and big monuments etc. is quite naive. Those were all anachronistic art forms - more a symbol than really being able to manipulate the masses. Around the same time, in the West you have a very sophisticated propaganda of the Edward Bernays caliber. He was someone who was approaching and funding researchers to create scientific consensus to stimulate a social environment where certain commercial products would be needed. And if Bernays was working to produce these effects on us 100 years ago, you can only imagine the level of manipulation we’re exposed to nowadays.

 

It would be interesting to trace when art became politically engaged and adopted an anti-establishment stand.

 

CM: A lot of people trace it to Goya. Even though you have figures that were considered rebellious within the Renaissance – Caravaggio for example. The socially conscious artist has been around for the past 200 years, but has always been a minority figure, and yet has always had to rely on having their work made visible by the classes that they often criticize  - as the bourgeoisie have been the backbone of support for all artists.

 

It poses the question of the purpose of the work – what you want to have it achieve, what is the social function, the social value of art? This is a question that I’ve often grappled with. There is the idea that art cannot challenge the system, as contemporary art is a part of the system, and a product of it. In terms of commercial galleries art is viewed as luxury consumer goods. There are many models that resist this of course.  Challenging a social system through mainstream art venues neutralizes the power of the work as these venues represent the system being challenged in many cases. The truly radical artwork usually isn’t welcome in galleries and museums. I do still feel an affinity to Herbert Marcuse’s idea that while art cannot change the world; it can contribute to the thoughts and feelings of those who can.

 

DS: When I entered the graduate school in Ohio, I was very excited about the new cultural environment. The American art scene, especially in the Midwest is very different from Europe - you can do whatever you like and pursue your individual goals, free from institutions, trends, cliques, and other forms of cultural homogenization. But after spending two years there, I felt the lack of these despised institutions. Because in many ways, they represented society. And I need society. To me, art is not supposed to be an individualist pursuit that you do just to satisfy yourself, to “work on yourself”, to “realize yourself.” I feel that art is an essential part of the social fabric, and that what I do has to contribute to the whole.

 

CM. I agree, and feel that artist should be a public intellectual, and not a ruthless individualist – that in producing work in the public realm that the work should contribute to the broader culture. These days the role of the artist is multifarious, but one of the ideas about being an artist that I respond to, is that the work should pose questions or engage an audience. By that I don’t mean that artists should make work about certain topical issues, but I respond to a consciousness of the fact that this is social practice, for all its individualism – that there is a social dimension to being an artist.

 

 

 

 

 

 

 

 

 

 

 

 

 

“Political Speech is Suprematism: The Meštrović Pavilion”

 

Reception: Saturday, September 19, 2009 ; 6:30pm-8:30pm

Slought Foundation Exhibition | September 19 - November 14, 2009

Curated by Branko Franceschi

Slought Foundation is pleased to announce “Political Speech is Suprematism,” an architectural exhibition about the changing history of the Meštrović pavilion in Zagreb, Croatia, and the cultural practices that it has inspired. The exhibition will be on display in the Slought Foundation galleries from September 19 through November 14, 2009. Branko Franceschi, Director of the Croatian Association of Visual Artists (HDLU) and curator of the exhibition, will deliver a lecture on the featured artists and architects on Saturday, September 19th at 6:30pm in conjunction with the exhibition opening. Franceschi will be joined in Philadelphia by featured artists Zoran Pavelic and Josip Zanki, due to the generous support of The Trust for Mutual Understanding.

 

 

 

This program is made possible in part through the generous sponsorship or support of the Andy Warhol Foundation for the Visual Arts, The Trust for Mutual Understanding, and the Society of Friends of the Slought Foundation.

 

http://www.slought.org.

SOUTH BRIDGE OF ORFŰ

FIRST INTERNATIONAL FINE ARTS SYMPOSIUM 2009.

12-19 SEPTEMBER 2009

 

A fine arts symposium is held adjusted to the goals of the Pécs 2010 European Capital of Culture Programme 

 

 

 

Dear Partners,

The House of Civil Communities of Pécs organizes a gathering of painters from the partner cities in 2009 as a part of the preparatory years of the Pécs2010 European Capital of Cultures programme.

As one of the aims of the program is to build strong relations among artists over the border, we would like to invite one painter from each of our partner cities just as Zagreb.

Attached you can find the summary of the project.

If an artist accept our invitation from your city, we are responsible for full-board and all the necessary working material. On the other hand, the artist will be required to cover the travelling costs and to leave one work for the organizers.

Out of these works an exhibition will be held in the House of Civil Communities from 19 September 2009.

A variety of programs will be organized during their stay so that they get better acquainted to the city of Pécs and our culture.

The registration form should be sent to Mrs. Csilla Vincze, the Managing Director of the house of Civil Communities of Pécs,  at csilla.vincze@civilhaz-pecs.hu.

Hope to welcome see a representative of your city in Orfű!

Best regards,


Neumayer Petra Ildikó
nemzetközi kapcsolatok projektmenedzser/international relations project manager 



Pécs2010 Nonprofit Kft.
7621 Pécs, Mária u. 9.
Tel./Phone: +36-30-816-1421; +36-72-514-804


neumayer@pecs2010.hu
 www.pecs2010.hu

Invitation for Tender 

VIII. Golden Hammer – Stone Carver s’ Competition

Alsóörs

 

 

Host: Government of Alsóörs

Date: 17 August 2009 (Monday) – 22 August 2009 (Saturday)

Program: 12.00 17 August 2009 – arrival, getting the accommodation, choosing the stone to be carved

Location: park in front of the Cultural Centre of Alsóörs

Theme: “The Flower”

Material: red-perm sandstone

Invitees: stone-carvers, sculptors, amateurs

Registration: till 25 July 2009

                       by post: Both Gábor

                       8226 Alsóörs

                       Füredi utca 22.

                       by e-mail: somabor@t-online.hu

 

Accommodation and full-board are provided by the host.

Reward: valuable gifts in three categories

               The best works will be exhibited in public place other works will be auctioned, the income of which is invested in the competition of 2010

awards ceremony: 16.00 22 August 2009. (Saturday)

more information: +36/30/204-1286

                                somabor@t-online.hu

                                               

more information an photos on the previous camp:

http://alsoors.freeweb.hu/farag2008_2.htm

http://www.stoneinfo.hu/stoneinfo/hun/indit.htm

 

 

Registrations will be handled on a first-come first-serve basis. The final date for applications is August 1st, 2009

 

 

Specifications:


CREATIVE GENIUS - 100 ARTISTS
COLLECTIBLE GLOBAL ART BOOK


ISBN: 978-91-89685-15-4


ESTIMATED RELEASE DATE: 2009


HARDCOVER 256 PAGES


EDITED AND PUBLISHED BY MOT
SIZE: 8.5X8.5 IN. /22X22 CM.

 

100 CONTEMPORARY ARTISTS IN MOT GLOBAL ART BOOKS SERIES 



CREATIVE GENIUS is a Collectible Collective Global Art Book for collectors, galleries, museums, dealers and art lovers, who seek the latest trends in the art world.  Over 250  pages, hardcover, 8½”x8½” /22×22 cm, 1000 works. Marketing and distribution is through large book wholesalers and ecommerce channels, in US bookstores and internationally including Barnes and Noble, Borders, and Amazon in USA, Canada, France, Germany, UK, Australia and others. Estimated book realize 2009

 

Submit for selection now!

We are in the process of selecting 100 contemporary artists to be featured in CREATIVE GENIUS, the 4th book in Masters of Today 1000 Contemporary Artists Series, one of the most professional visual art resource and opportunity for publicity and advertising. 

If you are an artist or a gallery interested for two-page spreads in Creative GENIUS we would be delighted to review your submission. To get the nomination completed please provide by email the materials requested below:

*  3 ~ 6 art works (300 dpi JPGs files /23 cm./9 in.)


*  The works details: title, year, media, size


*  Up to 500 words of critic or statement


*  The personal website


*  The place of residence and work


*  A photo of yourself (300 dpi JPGs file /4 cm/1,5 in.)

Rates: After selection an editorial fee is requested to defray editorial and production expenses. The editorial fee applies to accepted submissions.

It is also important to notice that we offer this summer rates 75% lower than average rates. The current editorial fee starts at 590 Euro for one-page and 990 Ruro or the equivalent for two-page spreads accepted inclusions.
   

The editorial fee is not for the right to be the included in MOTs art books and represents an editorial standard cost.
   

The fee is required after the artist will receive a layout alternative and should be provided by a gallery or museum, corporation or individual contributor or self-provided.

Three copies of the book are given to each artist or gallery included. MOT books are distributed through bookstores and eCommerce channels, to museums and galleries.

Please make sure your submission conform to the requirements outlined above.

           

^{The Artists included  in Masters of Today series}

ADRIENNE KYROS, AINO-KAARINA PAJARI, ALEXANDER SUTULOV, ALFONS BUERGLER, ALICE BURTON, AMANDA VAN GILS, AMY COHEN BANKER, ANDRÉ RUSU, ANDREA PAGNES, ANN MORRIS, ANNIE M. FRIEDMAN, ANTHONY ELLIOTT, ANTO PATANIAN, ANTONI KOWALSKI, ANTÓNIO AMEN, ARIA KOMIANOU, ARIEL ARTIGAS SEVERINO, ÁRPÁD DARADICS, ABU JAFAR, ASBJORN LONVIG, AVIVA BEIGEL, AYEGÜL ÖNEREN, BARBARA MCGIVERN, BARBARA RIVERA, BARRY GROSE, BASIL C. FRANK, BELA LIMENES, BETTE RIDGEWAY, BETTY JONKER, BJØRN ERIKSEN, BLANCA RUTH CASANOVA, BOB FREIMARK, CAROL STAUB, CAROLINA ALOTUS, CAROLYN COLE, CATALIN, CHAIM ISRAELI, CHARLES CARSON, CHARLOTTE JÖNSSON, CHRISTIAN PARASCHIV, CHRISTY ANN BROWN, CONTRASTS GALLERY SHANGHAI, CRAIG ROBB, CRIS ORFESCU, DAN SKAHAN, DANA PULLEN, DANIEL CLAVER HERRERA, DANIEL PE`TA, DANIELLE EUBANK, DARYA IVANOVSKAYA, DAVID GERSTEIN, DAVID NEWMAN, DAVID RUSBATCH, DENNIS ORLANDO, DERRICK FLUDD, DIANE HOLLAND, DIMITRA KOULA, DITA LIRON, DOUGLAS SMARCH, DREW TAL, DYLAN FARRELL, EDITH LASSIAT, EDITH SUCHODREW, EDUARD GROSSMAN, EDUARDO PLA, ELENA DIADENKO-HUNTER, ELISA CHONG, ELIZABETH HACK, ELLEN GROTH REDDIE, ELLIE BROWN, ELOISE GHION, ELRIC MIAULTTARIS, ERIC BESSON, ERICA WEISZ-SCHVEIGER, ERIKA WAIN, EULÀLIA, EVELYNN EIGHMEY, EVERT JONSSON, FATIMA BAKKACH, FRANCESCO RUSPOLI, GAD ULLMAN, GALERIE MONTANELLI PRAGUE, GALERIE RICHELIEU MONTRÉAL-MARC ST-ONGE, GALINA MANIKOVA, GARY SCOTT, GEORGE KAVANAGH, GISELA KIEPAR WAHLSTRÖM, GRZEGORZ GREG GIERLOWSKI, GWEN DE SILVA, HANS DIETER GROSSMANN, HANS JOHANSSON, HANSEN THIAM SUN, HELEN HORN MUSSER, HERBERT MURRIE, HERMAN SMORENBURG, HOOSHANG KHORASANI, IGNACIO MONTANO,ILHAM BADREDDINE MAHFOUZ, IRA STARK, IRIS XILAS-XANALATOS, ISAILA, ISTVAN OROSZ, JAIME MENDOZA, JAKUB NEPRA, JAMES MINDEN, JAN ESMANN, JANPOL PORTALIS, JEANNE CASTRO, JEAN-PAUL LE BUHAN, JEFF IBBO, JEHAN LEGAC, JENNY AUTHEMENT,JESSICA FINE, JIM MORANA, JOHAN VOSSEN, JOHN GESAGER NIELSEN, JONATHAN MCFALL, JONATHAN R BALDOCK, JONNA PEDERSEN, JUDY N. BIRD, JUNKO MATSUMOTO, KAJA SEGVIC CROATIA, KALOUST GUEDEL, KATARINA DRIENOVSKA, KATHERINE CHANG LIU, KEI KATO, KEIGO YAMAMOTO, KELLIANNE OBRIEN, KHO SANTE, KIMBERLY BERG, KIM-LIONG TEO, KRISTINE SULLIVAN, KYTOM L, LARZ ELDBÅGE, LAZAR, LEON KUBASSKI, LEON OKS, LIANA HOLLANDER-GROSS, LIDIA PIGOT, LINDE B. MARTIN USA, LIS ENGEL, LORA ROZENBERG, LOREN D. ADAMS JR, LUIGI MAPELLI (MAPO), LYNDA ELLIOTT, LYNNE TAETZSCH, MAE JEON, MAGDALENA BAK, MANFRED KIELNHOFER, MARCEL PINAS, MARCELO LOPES, MARCUS ANTONIUS JANSEN, MARCUS VAN SOEST, MARGIE HUNTER HOFFMAN, MARIA BOVIN DE LABBÉ, MARÌA SANTACECILIA, MARK H. CAMPBELL, MARK WALKER, MARLENE S. BREMER, MARTA DIMITRESCU, MASSIMO FRANCHI, MAURIZIO GALIMBERTI, MEIR SALOMON, MICHAEL BERRY, MICHAEL HOWES, MICHEL DE CASO, MICHELLE M. BELLICI, MICHIKO KAKUTA, MILENA JOVICEVIC POPOVIC, MINOU INAYOSHI, MIROSAAW STRUZIK, MIRSO BAJRAMOVIC, MIRTA DE SIMONI LASTA, MIRTA TOLEDO, MONIQUE DE RAE, MY LE THI, NANCY PINNEY, NAZIM MEHMET, NÉ BARROS, NIRA RAZ, NURETTIN ERKAN, OLEN, OLGA GOUSKOVA, OLGA VON GECZY, PAUL YGARTUA, PAVO MAJIC, PENTTI SAKSALA, PETRU RUSSU, PILAR SEGURA BADIA, RALPH MICHAEL, RAYMOND DIFLEY, RENÉE FABBIOCCHI, RICHARD SOLSTJÄRNA, RITA DA COSTA, ROGERIO SILVA, ROLF AAMOT, ROLF JANSSON, RONYA SHVACHKA, ROZI (ROSALIND) SHAHAM, SALWA ZEIDAN, SARA TANDET-RON, SARAH ABELER-THERMANN, SCOTT CAREY, SHAHLA ROSA, SHAHNAZ, SHAO FAN,SHAWNA HANEL, SHELLEY L. JONES, SHIN-HYE PARK, SIEGLINDE VAN DAMME, SISKO RUSKOKIVI-RUNEBERG, SOOK-CHA KIM, SORIN ALBU, STERE GRANZULEA GRANT, SUZETTE TROCHE-STAPP, TAGE LUNDIN, TAKAYO SETO, TAMARA TARASIEWICZ, THERESE BOTTIGLIERI, THOMAS LAMMERS, TOMASZ M. KUKAWSKI, TYR, ULF WESTMAN, URI DE-BEER, VAL DYSHLOV, VALERIY MAVLO, VAN QUE, VARDA CARMELI, VASILY FEDOROUK, VERA TATARO, VERNON FINE ART PRAGUE, VICTOR HAGEA, WILLOW HEATH, VLAD BUBNOV, WOLFGANG KAUFMANN, VOLODIA POPOV MASSIAGUINE, YAEL SEGEV, YOICHI TANABE, YONA LEVY-GROSMAN, YOSHIKO FUJITA, YURIKO HIROSE, ZAHAROULA HADOULIA MAVRIDIS, ZLATA REISTETTEROVA, ZOJA TROFIMIUK.

 

More: http://www.mastersoftoday.com/