The Mining Institute January 9th @ 7.30
CALL FOR WRITERS
CANNED is seeking submissions!!!
For the third edition of CANNED to be featured in February 2012, we are looking for detailed responses to the role of public engagement in contemporary art and how it relates to collaboration, exchange and collective action specifically.
Whatever your take, perspective or style we welcome your submission. As always, we are looking for really unique perspectives delivered with eloquence, clarity and character.
For this edition of CANNED, we are looking to push the boundaries of discussion and debate as far as we can. It will be more extensive and have more exposure than ever before, being sold internationally in such places as BALTIC Centre for Contermporary Art, Globe Gallery, Vane Gallery, Aye-Aye Books and the Newbridge Space Gallery. We will circulate 1000 paper copies, plus we will provide coverage on the CANNED and The NewBridge Project websites and through Social Networking/on-line Arts channels.
CANNED is an unpaid opportunity but is an excellent chance for all artists, writers and cultural critics to gain exposure and have a voice. CANNED has previously had articles featuring everything from emerging shows in small towns to exclusive interviews with Christo and Mark Leckey.
All articles have to be submitted by 31st January 2012.
To apply, see below for details.
All submissions should be emailed to email@example.com with the following:
1. Attach your article to the email in Microsoft Word format. We will not accept PDF files or articles copied in an email. Below is our criteria for what we accept as material for CANNED, please follow carefully:
Length: Articles should be between 400-3000 words.
Language: This is an English-language magazine. If you feel comfortable submitting a piece in another language, you may do so, but in addition you must provide a good English translation. All submissions will be read in the English version.
Style: A variety of styles are encouraged but the magazine is primarily a platform for discursive critical writing on the Visual Arts. Properly cite sources to support your argument including links. If citing from other books, articles, journals or other publications please use standard footnotes as follows: Author, Title of Source, Place (e.g. London) : Publisher, Date. Within Word, include links within your text.
Deadlines: the deadline for entries for the first issue is 12pm on 31/1/2012. Entries submitted after this date will be considered for subsequent Issues.
2. Subject line should read with your first and last name: "First name, Last name Submission" (for example: Jockum Nordstrum, Submission).
3. Please attach a brief bio of yourself in one paragraph (approx. 3-5 sentences) and/or a CV For all further enquires or for more information please e-mail: firstname.lastname@example.org
We look forward to hearing from you!!!!
The ideas of collaboration, exchange and collective action in art are not new. In 1971 Joseph Beuys' set up the Organization for Direct Democracy through Referendum and even before this Dada, Fluxus and the Situationist International had thoroughly explored collaboration and collective action in art as a means to challenge the hegemony of the solitary artist-hero and the (commercial) status and (monetary) value of the art work. But with the rise of the internet, digital media and telecommunications technologies the questions of ownership, authorship and individualism are brought to the fore by the mass exchange of information and the emergent trend towards reappropriation, reproduction and redistribution.
With the rise of the internet and the emergence of free and open source software, this democratization of technology has been enfolded into digital art production and collaborative action whether political (such as the Orsay Commons campaign to allow photography in publicly funded Museums and Art Galleries), social (like the Zero Dollar Laptop Project recycling and building laptops for underprivileged communities) or simply as a means to realise more ambitious projects than can be achieved by any one individual (the rise of the Flash Mob or Darren Solomon's In B Flat piece).
I believe there is enough evidence to suggest that the demand for greater representation and to affect ones own social and cultural conditions comes to the fore at times of political and economic hardship and, as such, I also believe our current context is a potent one for examining the current trends in collaboration, exchange and collective action in art.
Prior to this time I have tended to treat my practice as being a thing of two halves; my personal practice and the collaborative work/ facilitation I do with others (through CANNED Magazine,The Library of Ideas and writing projects like Chance Finds Us). However, during the AA2A I have found this shifting; virtually all the work I'm doing is of this direct means of action and collaboration (there has been very little painting on my own in the studio). And whilst I do bemoan not having the time to draw or paint, there is something really exciting happening as my practice opens into something which is more publically and politically engaged. I have chosen the next issue of CANNED to be based around this theme of Collaboration, Exchange and Collective Action, the show SUPERCONDUCTOR that I'm curating at The NewBridge Space is taking flight with all kinds of events and open panel discussions (from "What is the Role of the Artist in Contemporary Society?" to talks by the Occupy Newcastle Group and workshops with students from Northumbria University).
I'm excited and nervous about these developments and whilst I hope they don't mean abandoning my visual practice (I still intend to use the print studio to do some lithography - to make artists books which can themselves be a potent site for collaboration and networking of ideas around a single theme) I am more confident to pursue them without worrying too much about 'what's happening to my visual art in the mean time'.
Thanks for reading.
Myself and Yvette Hakins (both AA2A artists at Northumbria University) have work in the Globe Gallery Auction - raising money for their ongoing programmes and initiatives.
I've also recently finished a commission for the North East singer-songwriter-sensation Bridie Jackson http:/
In addition to this I've been busy preparing for the next edition of CANNED Magazine (due for publication in early January) and a call out for submissions of art and writing will follow soon* plus a show called SUPERCONDUCTOR at The New Bridge Space in Newcastle...
Oh, and doing a postcard for Newcastle University's postcard auction and writing up the accompanying essay to Allenheads Contemporary Arts programme Trading Post which finished earlier this year...
Between all this and work I'm hoping to get some time to sleep and think about getting into the print studio at Northumbria soon... we can only hope though...
Back to the library I go....
* In the mean time, if you're interested in writing for CANNED or submitting an article, please get in touch email@example.com / firstname.lastname@example.org