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Grants – European Cultural Foundation – ECF

January 27, 2011   alternativ   No comments

We support arts and culture across wider Europe, by investing in creativity and boundary crossing innovation.
Grants are at the core of our work. The connecting power of culture is essential for creating open, inclusive and democratic societies: for ‘building Europe’. We are looking for projects that have the potential to inspire people to transcend boundaries in this process.

Our grants programme stimulates transnational cultural collaboration, artistic expression and the mobility of artists and cultural actors. Our various grants schemes relate to different ECF focus areas and to specific regions of the Europea continent.

All of our activities revolve around the three strategic guiding principle outlined below.

Applications that tie in with these principles will receive a higher score in the assessment procedure.

We are interested in:

1.Diversity within our societies: projects that reduce exclusion and conflict by bringing people together; projects that target new audiences and create new places for showcasing culture.

2.Connecting Sources of Knowledge – we think sharing and connecting knowledge is vital in creating an open Europe.

- cross sectoral and cross generational online and offline collaborations: projects that try out innovative and creative partnerships to develop/produce new work, broaden knowledge sharing and public participation, as well as experiment with new technologies.

3. Linking Policy and Practice – we are interested in projects that help build this open Europe by contributing to cultural policy development locally, nationally, regionally and at European level.

Impacting on European cultural policy: projects that actively contribute to policy and practice; that connect a local perspective to the European level; also projects that bring cultural and political players together in new ways, and that raise awareness and help prove the value of cultural policy.

Eligibility Criteria

Collaboration grants fund transnational, cross sectoral activities by artistic and cultural organisations working together or with organisations from other sectors. Applications must be in line with all the eligibility criteria. Please read these carefully, as proposals which do not meet the criteria will not be considered.

1. Who is eligible?

- Lead applicant: independent artistic or cultural organisation based in Euro
- Partnering applicant: organisations from the cultural or other sectors.

2. What is eligible?

There are six different eligibility criteria. All of them are equally important to us, which is why applications must be in line with all eligibility criteria. Please read them carefully. Proposals that do not meet these criteria will not be considered.

Partnership working methodology

Transnational collaboration in Europe is the key phrase for this grants scheme. Projects are selected first and foremost on both their transnational and collaborative aspects. We need to see the transnational collaboration reflected in your entire application form. This means that project partners must be involved in all aspects of the project; working
together on the planning, the development and the realisation. This also implies that all partners should contribute financially to the project (note that we also consider in?kind contribution as financial support).

Cultural focus

The project should have a strong cultural objective and a concrete end product. In this sense, we support a variety of activities: the creation of artistic work, media projects or cultural policy development, including capacity building of cultural actors.

European dimension

The project must be organised by a cultural organisation in Europe (following the Council of Europe’s definition, which comprises 47 countries). As we also encourage cooperation with the southern European  region, projects partnering with Mediterranean countries are also eligible, as long as their content relates centrally to European cross?border cooperation. (Indeed, this is true for all projects we support.) By ‘Mediterranean countries’ we refer to Algeria, Egypt, Israel, Jordan, Lebanon, Morocco, Palestine, Syria and Tunisia.

Sustainability

The project must have a clear end?result that can be evaluated. Ideally, the project is a starting point for sustainable cooperation between the partners.

Time frame

Project activities should only start after we have made our funding decision (please check the exact planning for this grant scheme on the ECF grants website section). The project must be completed 18 months after the contract has been signed.

Financial

ECF can support up to 80% (max) of the total budget. We encourage applicant organisations and their partners to demonstrate their own contributions and to apply to other funders. This should be shown in the budget outline.

ECF provides an average collaboration grant of Euro 15 000. The maximum grant awarded is Euro 30 000.

ECF specifically welcomes the involvement of local funding partners, as we believe this helps embed the project within the local context.

ECF may select your project even if your remaining budget has not yet been secured when you are applying. Payment of the grant will be conditional on an agreed percentage of other funding having been secured at least one month before the start date of your project.
Collaboration grants for independent cultural and artistic organisations
http://www.eurocult.org/grants/collaboration-grants

deadline: 01/03/11

Kontakt:
European Cultural Foundation
Esther Claassen
Jan van Goyenkade 5
1075 HN Amsterdam
The Netherlands
tel: +31 (0)20 573 38 68 begin_of_the_skype_highlighting              +31 (0)20 573 38 68      end_of_the_skype_highlighting
fax: +31 (0) 20 675 2231
esther@eurocult.org
http://www.eurocult.org

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Expo: “Stop the demolition of Cinema Komsomol”

January 27, 2011   alternativ   No comments

The event opens one major theme, and the occasion is the old cinema Komsomol/Kosmos*.

The city council of Plovdiv recently voted the removal of the cinema building and its replacement by a multistory garage and a commercial-administrative building – may be the next Mall. This is happening in the very central part of Plovdiv, in immediate closeness to an old, once bourgeois residential neighborhood with narrow streets and
emblematic architecture.

The building of the cinema itself is a valuable example of modern architecture. Cinema Komsomol was designed in 1960 by architect Liubomir Shinkov and arch. Liubomir Bonev and was completed in 1964. Although too large in comparison to the surrounding secesión or simply plain small houses the building still impresses with its proportionate volumes and specific details.

A few are the architectural details sealed in the mind of every Plovdivian; the curving staircase in the lobby, the pleated “origami” facade on one side followed by a glass wall opening a view to that beautiful staircase from outside. The emblematic value of the cinema is undeniable for the generations who remember the crowds of visitors at the square in front of the building.

Once the largest and the most modern cinema in Plovdiv with 900 seats amphitheater it was devoid of function in the mid 90′s. Nearly 15 years the cinema has been idle until the end of 2010, when the city council pronounced it completely unnecessary for the Plovdivians and their generations. The City council voted a change of purpose and status of the current property . A great cinema building was pronounced best to turn into a garage. From a public building with cultural purpose it became a private municipal property and a garage on paper.

Penka Popova and George Serbezov
24 January – 28 February

supported by Open Arts Foundation
more info: http://openarts.info/?p=873
http://daspasimkinokosmos.blogspot.com/

artnewscafe /// Plovdiv, Bulgaria, 38 Otets Paisiy str. www.artnewscafe.com

Penka Popova and George Serbezov react to the last events and by invitation of artnewscafe and Open Arts Foundation put together a documental exposition while aiming to provoke a discussion and save the building in the very end. Everybody is welcome to join , support or discuss the matter.

The presentation on at artnewscafe will address questions which are extremely important and very much neglected in the public domain. What has been happening with the urban space of Plovdiv in recent years? What is our response to these changes ? What is our relationship with the places we inhabit? What are the priorities and official policies of the
city and what future they draw? What happens when a parking space is more important than clean air and cultural activities? Who makes the decisions for us and why don’t we participate in the process? How many office buildings, shopping malls, food chains and garages are sufficient in a city like Plovdiv? What does the demolition of a building means for an entire neighborhood?

Bring and share with us your findings on cinema Komsomol/Kosmos !

In artnewscafe, Plovdiv is exposed the entire collection of documents, video, archival and new photos, all obtained during the “info excavations” at the archival center, the municipal institution and in the conversations with one of
the authors of the building arch. Liubomir Shinkov as well as with other experts and architects. You will be able to look at the documented views and decisions of the authorities concerning the case. An audio file of the discussion at the session of the city council leading to the fatal decision will be available.

The exposition presenting old and new photographs, plans and other documentation will be on view every day from January 24th to February 28th in artnewscafe

*The name of the cinema was changed in the 90s to “Kosmos”

—SARIEV GALLERY
www.sariev-gallery.com

—ARTNEWSCAFE
www.artnewscafe.com

—OPEN ARTS Foundation
www.openarts.info

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The Monsters Crawl Out At Night – festival of home-made music

January 17, 2011   alternativ   No comments

“The Monsters Crawl Out At Night“ is a festival of homemade music built to represent lo-fi bands and singers/songwriters of different sensibilities and unusual approaches. Hidden in their rooms, untill now, these creatures will show themselves in full glory, without making too much noise, celebrating lo-budget production, because the essence of music is always the same – regardless of how you create it or what you use to create it. From space-folk and hard-core, via gangsta rap to electroclash, the lo-fi scene is rich and interesting, and perfect for the life in times of recession. Not only the concerts, but the puppet performance will be held, as well.

Performing: Ex>Misha, Kopy Kat Killah, Halbstar & Umbra, Katie, Midica and Xhape.
27. January, 22h (Kulturni Centar GRAD, Bra?e Krsmanovi? 4, Beograd)

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Job at Reuters

January 04, 2011   alternativ   No comments

Reuters Bucharest bureau is looking for a driven and talented reporter to cover the unpredictable story of Romanian politics and economics. The successful candidate will be enthusiastic about journalism, have a firm grasp of current affairs, plenty of ideas on how to sell local news to international, financially-literate readers and be able to work fast under pressure . The position requires fluent spoken Romanian and English and excellent written English. Regular duties may include monitoring news on television and newspapers, reporting spot news and generating feature ideas and translating between Romanian and English. The position will be focused on Romania but will also have some scope for regional stories and will require some coverage of markets across central and eastern Europe.
Reuters

To apply, please send a cv, accompanied by a brief cover letter explaining why you are the right person for the job, to Sam Cage, bureau chief,  sam.cage@thomsonreuters.com

Source: www.cji.ro

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MADE – Mobility for Digital Arts in Europe (Call for Proposals)

December 23, 2010   alternativ   No comments

MADE (Mobility for Digital Arts in Europe) launched in London on November 24th 2010 – a co-operation between lead organiser centre des arts d’Enghien-les-Bains (Paris, France) and partners body>data>space (London, UK), Transcultures (Mons, Belgium) and BoDig (Istanbul, Turkey), in the framework of the EU’s Culture programme (2007-2013).

MADEMADE will practically examine and explore forms and models of European digital co-production, using topical case studies, in particular, through the commissioning and production of a live/contemporary digital work (performance and/or installation).

MADE is making an open Call for Proposals, offering a co-production package, inviting professional artists from all EU member (or candidate) countries to submit project ideas for this co-production.

This new Commission will be co-produced by the 4 partners between September 2011 and June 2012, involving 4 two week residencies in each of the European countries involved. Additionally it will examine a variety of forms of onwards distribution methods. The project will be premiered at centre des arts d’Enghien-les-Bains annual festival for digital arts, Bains Numeriques 2012.

For further information and todownload the first stage application form (in English & French) go to: www.bodydataspace.net/projects/made/

Deadline for submissions is Monday 24th January 2011.

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Freedom of Speech at Hamburg Kunstverei (photo report from Dan Perjovschi)

December 15, 2010   alternativ   No comments

Freedom of Speech at Hamburg Kunstverein will open 17 december at 7 pm. artists include Hans Haacke, Maria eichhorn, Silke Wagner, George Maciunas, Sister Corita Kent, Barbara Kruger, Yossi Lemel, Olaf Metzel, Dan Perjovschi, Bruce Nauman, Mark Wallinger and more.

Freedom of speech HamburgFreedom of speech HamburgFreedom of speech HamburgFreedom of speech HamburgFreedom of speech HamburgFreedom of speech HamburgFreedom of speech HamburgFreedom of speech Hamburg
The exhibition Freedom of Speech questions and analyses the concept of freedom of speech and the ideological role it plays in Western democracies. Everything revolves around the question: What if only those who say the truth are allowed to speak? What consequences does the freedom of expression have for our society? How and where is this freedom instrumentalized? This controversy manifested itself in the cartoon dispute in 2005, when a right-wing Danish daily newspaper published the so-called “Muhammad cartoons.” The ensuing conflict and the Iranian reaction in the form of a “Holocaust cartoon competition” ignited a public discussion concerning the relationship between rights of freedom?freedom of speech, of opinion, or of the press?and truth. Is it permissible to publish caricatures that knowingly do not correspond to the truth? Which, as in this specific example, reproduce and consolidate racist stereotypes based on purely Western notions and whose truth value can (intentionally) not be tested?

In collaboration with the Duisburg Institute of Linguistic and Social Research (DISS), the truth value of the works are examined by means of critical discourse analysis. This form of analysis developed by DISS on the basis of the theories and writings of Michel Foucault is applied like a foil upon the linguistic and visual levels of the collected media reports and artistic works. That the works of art become objects of analysis is unique in this form, taking account of the fact that they also play an important role in constituting everyday knowledge and therefore also need to be considered. According to Foucault, “modern art reveals the truth in scandalous fashion,” for “art has the ability to give existence a form that breaks with all others, the form of true life.”

The exhibition Freedom of Speech collects examples of media reports (e.g., the “Muhammad caricatures”, or the controversial covers of Hustler, Stern, or Spiegel), historical events (e.g., the Black Power and Free Speech movements in the USA), as well as art works.

Freedom of Speech is a cooperation between Neuer Berliner Kunstverein and Kunstverein Hamburg in collaboration with Duisburg Institute of Linguistic and Social Research (DISS).

Photo: Dan Perjovschi

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Utopia of Exotic at Pavilion Unicredit in Bucharest

December 03, 2010   alternativ   No comments

“The exotic subject, whatever it may be, is first assigned two essential qualities, namely the great distance between the analytical entity and the formal unusual/weird characteristics. But the farther an object is from the analyst, the less worthy it becomes of being examined. The proposition of knowledge is substituted by the proposition of indifference and superficiality of being known. When we talk of nation-states-societies we can easily say that pursuing naively an utopian system of values, one could imagine that exoticism implies a certain type of reciprocity between subject and analyst. Somewhere along the way a vague connection is established between the one being determined and the one that determines. Nonetheless Western society has assumed the role of absolute analyst. Thus, the type of relation towards the apparently exotic space modifies its assessment parameters… Therefore throughout history, exotic space was a locus of social, economic and political experiments, generated by utopian ideas and ideologies. The hypothesis  of potential for non-Western space to transform into a social paradise was  demolished by twentieth-century history through violent and traumatizing arguments. Utopia, whether a concept, an idea, a semblance or a reality can be regarded as such: the exotic can be treated as an utopian subject precisely due to the lack of reciprocity between analyst and subject. In this sense Utopia of Exotic, an inquiry into what the two terms mean nowadays, explores economic, social and political aspects of what Western society considers exotic land or culture, trying to underline the utopian character of the term exotic.” (Extras from the text “Utopia of Exotic” by Andrei Craciun, from the publication with the same title).

Utopia of ExoticDecember 09, 2010 – February 27, 2011

UTOPIA OF EXOTIC

Opening: December 9, 2010, 19:00

Curator: Andrei Craciun

Participants: Kristoffer Ardena (ES/PH), Tania Bruguera (CU), Lado Darakhvelidze (GE / NL), gold extra (A), Hong-An Truong (US), Yoshinori Niwa (JP), Saviana Stanescu (RO/US)

Publication: “Utopia of Exotic” with texts by Anne Alexander, Tania Bruguera, Andrei Craciun, Walter Mignolo, Saviana Stanescu. Edited by PAVILION – journal of politics and culture, English/Romanian, 80 pages, B/W, 14,8 x 21,0 cm, softcover, 4 EURO / 12 RON.

OPENING party & live concert with
HANDSOME FURS & UMA SWAN in CONTROL CLUB
(www.control-club.ro), December 10, 2010, 22.00 hours
The gig is organized by ONEDAY.RO

To be keeped posted you can RSVP on FB at
http://www.facebook.com/event.php?eid=122122791184150&index=1

Image: Kristoffer Ardena, Apparition, sculpture/photography, dimensions variable, 2008. Courtesy of the artist.

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Sage Francis: A Tribute to Micheal Larsen (1981-2010)

October 25, 2010   Andreea Strachina   1 Comment

eyedea_wide

„Last night I dreamt I was sitting with Mikey on a public park bench somewhere. I interrupted him as he was talking to me and said, “You know…people think you’re dead.” A flood of sorrow overtook me. I broke down into tears and said, “I thought you were dead.” I patted him on the back to make sure he was really there. He grinned mischievously but there was also a look of shame–as if to admit that he felt bad for pulling this horrible prank on everybody. He stood up, stepped into a bear costume, and then pressed play on a boombox set to slow-motion so it sounded like a bear growl. When I awoke it took a good 30 seconds before I realized that my sense of relief was a hoax of my mind’s own doing. This is the fourth day in a row that I’ve had to remind myself that Mikey is gone.

People will undoubtedly remember his music but Micheal Larsen was more than the sum of his songs, battles, performances and freestyles. When you consider the depth of the well that these things were all drawn from it almost seems trivial to focus on the byproducts of his fire. It was a fire that kept him seeking, learning, thinking and evolving. A fire that I believe he did his best to understand so he could share it with others. Maybe that fire burned him out. Maybe it didn’t. Maybe that fire is what kept him alive in the first place. Regrettably, I was not in close contact with him in the last few years so all I can do is cling onto memories of the better times we shared together. Before doing so I need to make it clear that I am by no means an authority on the man. Mikey’s friends, family and music partners in his home state of Minnesota obviously have a greater understanding of him as a person and as an artist. I don’t think there’s anything I can say about him that they won’t or haven’t already. In the past five days it has helped me to put all these thoughts into words rather than letting my memory wheel spin out of control.

I first became aware of Eyedea, the emcee, in 1999. He was touted as an absolute protégé among my inner-circle of friends. He didn’t have a release of his own yet but he had appearances on various music compilations. These were recordings of his at the age of 17 or younger. Part of my own identity and pride at this time was based on how much progress I had made as an emcee at a young age but this Eyedea fella essentially squashed all of that. The voice and message in his recordings sounded so mature. I suppose “precocious” could be a good word to describe him but I think I’ll just have to fall back on an overused cliche and say that he was “ahead of his time;” artistically and intellectually.

The next big sign of his impending rise came when he won the 1999 Scribble Jam MC Battle, and that was after he had already won NYC’s Rocksteady battle. These victories put him on a lot of people’s radar and, thankfully, this was during a time when winning a battle could raise a rapper’s cache and notability. This is the same year I won the Superbowl Battle, to much less acclaim, but that’s how Mikey originally discovered who I was. I just didn’t know it yet. At some point in 2000 I performed at a club in Milwaukee on the same bill as Atmosphere which, as a live outfit, consisted of Slug on the mic & DJ Abilities on the turntables. We hit it off and became good acquaintances at that show. I was then graciously invited to be part of their upcoming mini-tour. Eyedea & Abilities performed along with Slug during the Atmosphere set so this is when I first met Eyedea.

To be quite honest, I don’t remember my very first interaction with him. I’m sure it was something along the lines of him saying, “Hey Sage, it’s a pleasure for you to meet me. No really, it is.” Or something overtly arrogant like that. Whether he laughed at his own jokes or delivered them straight faced, there was usually a frenetic energy about him that insisted upon everyone having a good time. That is until the conversation veered into deeper matters at which point his tone transformed into one of the the world weary philosopher. Those moments were good ones and they felt special but mainly his social style consisted of playful jabs, self-congratulatory hyperbole, and funny jokes or stories.

………..

My last personal interaction with him was during our Rock the Bells tour last year. He approached me in his homemade t-shirt and with long, greasy hair dangling over his face. It appeared as if he’d gone deeper down the “no shower” path I was first acquainted with in 2001. I prepared myself to encounter a stranger; to greet someone unfamiliar in a slightly recognizable form. Instead, and much to my relief, old Mikey emanated through. The old jabbing, ribbing, enthusiastic, self-assured, “It’s a pleasure to meet me” Mikey was standing in front of my face calling me by my full Christian name. I suspect he knew how annoyed I was by that name, especially since he did it so often, but I didn’t dare tell him out of fear that it would encourage him to say it even more. We sat down on a couch in the outdoor “green room” where he broke out his acoustic guitar. I looked at him like, “Are you serious right now?” He stared back with that jagged, crazy, gap-toothed smile. He strummed the guitar and sang something under his breath that seemed to waver in and out of key. I chuckled as the crowd of onlookers gathered at the gate. I snapped a photo for the sake of posterity. When we were done with our performances he gave me a t-shirt and his new CD before we went our separate ways. For the last time.

The news of Mikey’s passing shocked me numb„

More about Sage s words, HERE

And somethin to listen: “Embarrassed” – Sage Francis feat. Eyedea & Slug

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