Call for Participants
Summer School Communicating Difficult Pasts in Kuldīga, 2–7 August 2019
Deadline for applications: 3 June.
MA and PhD humanities students, as well as early-career artists, art historians, curators and cultural studies researchers are welcome to apply.
We live in a time of increasing violence, which is gender, community and class based. These aspects need to be considered in order to understand its operation, while finding ways to communicate both past and present violence has become pertinent for understanding contemporary societies. This year’s Summer School programme will explore the complexities of communicating the 20th-century past, and analyse how art and culture can advance debates and thus influence current realities.
For the sixth year the Summer School of the Latvian Centre for Contemporary Art (LCCA) is held in cooperation with Kuldīga Artist Residency, the Art Academy of Latvia and the Estonian Academy of Arts. The Summer School continues to draw on developments in critical thinking, artistic research and creative practices related to actual debates in contemporary culture. This year its central theme will be how violent pasts remain with us and how contemporary artistic research and curatorial projects have found ways to mediate their different dimensions. Our programme will bring together interdisciplinary scholars, artists and curators who have analysed the contemporary legacies of the Second World War and related them to Cold War and postcolonial frameworks.
Difficult knowledge (Roger Simon, Erica Lehrer) and difficult heritage (Sharon MacDonald) offer important perspectives to traumatic and long-silenced histories and modes of their remembering. These discourses bring themes which are often invisible or marginalised in public knowledge. Artists and scholars engaging with these subjects confront the increasingly prevailing representations of selective memory, which by rejecting particular experiences, ignore difficult history. The mediations of difficult pasts we will touch upon concern violent conflicts and traumatic losses, their afterlives in personal experiences, the lives of communities owing to forced migration and deportation, subjugation of indigenous people, practices of exclusion and othering of communities. In the workshops we will consider how could more complex and layered histories be told that complement disputed pasts with new perspectives, in ways that combine critical consciousness with empathic understanding and how could violent histories be narrated in ethical and audience-conscious ways.
The Summer School Communicating Difficult Pasts will focus on the uneasy relations between pasts and presents, their entangled nature in the 20th century and the impact that these difficult histories have left to contemporary realities in the Baltic Sea region. Topics such as the legacy of right- and left-wing ideologies and their impact on rising populism, intolerance towards cultural difference and marginalisation of ethnic minorities or queer communities are entangled in the region with histories of the Holocaust, Soviet repressions and colonialisms. These experiences are often addressed, researched and discussed locally or nationally; this Summer School aims at understanding the relationships between these difficult and traumatic pasts and articulating their influences and presence today through the perspective of shared histories. We will consider how to apply intersectionality to thinking about the past and present in the Baltic Sea region.
Speakers organising workshops and lectures are distinguished thinkers and experts in the fields of visual art, cultural history and theory, as well as memory, feminist and LGBTQ+ studies. They will introduce research and curatorial projects and discuss intersections between minority studies, postcommunist and postcolonial discourses. The speakers include Violeta Davoliūtė, Professor of Political Science at Vilnius University (tbc), Ilya Lensky, Director of the Museum ‘Jews in Latvia’ (tbc), artist Harri Pälviranta from Finland, Adi Kuntsman, Senior Lecturer from the Manchester Metropolitan University and Norwegian-Sami artist Máret Ánne Sara.
The curators of the Summer School programme are Ieva Astahovska and Margaret Tali.
Participation in the Summer School is free of charge; however, participants must cover partial accommodation and catering costs of 80 EUR.
To apply to participate, please fill out the application form: tiny.cc/lccasummerschool and submit it by email with a CV and a letter of motivation in English by email. Additionally, you can add a creative portfolio including projects or one to two publications related to the theme.
The deadline for applications is 3 June 2019. Please email the documents to: email@example.com. We will respond to applicants by 14 June.
For any questions regarding application, please contact Ieva Astahovska at firstname.lastname@example.org
Curatorial collective What, How and for Whom / WHW announces an open call for applications to participate in the second year of WHW Akademija, an international art study program based in Zagreb, Croatia. The program runs from November 4, 2019, to May 31, 2020.
Application Deadline: April 29, 2019
Selection interviews – in person (for Zagreb-based applicants) and over Skype – will be conducted between May 20 – 31, 2019.
Results will be announced by mid-June 2019.
WHW Akademija is a new program for emerging artists. It aims to foster new forms of self-determination, based on modes of critical reflection, curiosity, and encounters among artists, artworks, art professionals, scholars and practitioners across disciplines. The WHW Akademija shares part of its title with the WHW curatorial collective, who drew their name from an acronym of the three basic questions of every economic organization: What, How & for Whom. WHW Akademija departs from the notion of the ‘conscious citizen,’ aiming to offer a broad educational spectrum and access to conflicting ideas and opinions, as well as to incorporate principles and values applicable to wider social and political life. It is imagined as a place for testing ideas, making discoveries and encouraging trial and errors. The program of WHW Akademija endeavors to position the notion of ‘learning by doing’ as a crucial element in the reciprocal educational process, which encourages students to actively co-produce critical content. In doing so, WHW Akademija highlights the collective methods of co-learning.
The resident professors throughout this year’s program are David Maljković and Kate Sutton, who will collaboratively develop a mentoring program and regular meetings for the students; and Sanja Iveković who will conduct a masterclass for the participants on a monthly basis. Guest professors are Banu Cennetoğlu, DAAR (Sandi Hilal and Alessandro Petti) and Manuel Pelmuş. Participants will be invited to participate in shaping part of the program by suggesting and developing associations with local figures and initiatives.
The Advisory Board members of WHW Akademija are David Maljković, Emily Pethick, Kathrin Rhomberg and Christine Tohme.
WHW Akademija is realized in partnership with the Kontakt Art Collection. The collection focuses on experimental and neo-avant-garde art activities in Central, Eastern, and Southeastern Europe from the late 1950s onwards. The manifold artistic positions included in the Kontakt Art Collection will serve as one of the foundations for discussions and interventions of other formats in WHW Akademija.
In the first year of the program, 2018 – 2019, the resident professors were Ben Cain, Tina Gverović and Sanja Iveković, with Pierre Bal Blanc, Rajkamal Khalon, Adam Szymczyk and Wendelien van Oldenborgh serving as guest professors. Additionally, the WHW Akademija welcomed guest speakers and collaborators including Charles Esche, Greg de Cuir, Mladen Domazet, Ana Janevski, Božena Končić Badurina, Oscar Murillo, Manuel Pelmuş, Kathrin Rhomberg, Dubravka Sekulić, Marko Tadić, Goran Trbuljak, Jelena Vesić, and Želimir Žilnik, among others.
The participants of the inaugural 2018-19 year are: Laura Barić (Zagreb); Jakub Danilewicz (Gdańsk); Philippa Driest (Rotterdam); Vida Guzmić (Zagreb); Larion Lozovoy (Kyiv); Petra Mrša (Rijeka); Jelena Petric (Zagreb); and Paky Vlassopoulou (Athens.)
WHW Akademija is a 7-month study program for 8 to 12 international participants. It is open to individuals seeking to deepen their formal, theoretical and critical skills in art, and who are at the beginning of developing an independent artistic practice. Students will be engaged in an intense process of working and learning, combining discursive formats and a number of practical exercises, including encounters with the public.
Participants will have access to a shared WHW working space and a small production fund. Some of the program’s lectures and seminars will be public. The working language of WHW Akademija is English.
The 2019-20 program includes continuous support provided by resident professors, David Maljković, Kate Sutton, as well as members of WHW (Ivet Ćurlin, Ana Dević, Nataša Ilić, and Sabina Sabolović) as core faculty. The resident professors will lead group and individual critique sessions, while WHW will provide mentoring support throughout the process. The guest professors Banu Cennetoğlu, DAAR (Sandi Hilal and Alessandro Petti) and Manuel Pelmuş will each conduct a two-week workshop consisting of both collective work and individual critiques with the students. Additionally, the program will include seminars led by international and local guests (to be announced later), as well as seminars based on the works in the Kontakt Art Collection, led by WHW.
WHW Akademija will begin November 4 with an in-depth introduction to the program allowing the students to get to know one other’s practices as well as aspects of Zagreb’s local cultural and activist scene.
For 2019-2020, students will be selected through an open call. Applicants should be practicing artists with or without formal training.
Your application should be submitted through this application form by April 29, 2019, and include the following information:
A full CV
A short biography of 250 words
Statement about your work (2 pages max)
PDF document with work descriptions and captioned images (15 pages max) including links to media from YouTube, Vimeo and SoundCloud. Please title your files according to the following formulation: “your last name_your first name.”
Candidates are considered on merit, as well as on their application’s relevance to the aims of WHW Akademija. The Advisory Board selects an initial shortlist of candidates for interviews. Shortlisted applicants will be contacted for a Skype or in person (for those based in Zagreb) interview, conducted between May 20 – 31, 2019. Applicants will be notified of their status by middle of June.
Applicants must commit full-time to the assigned schedule. External engagements must be kept at an absolute minimum and should not interfere with attendance and participation in the program.
The program is open to applicants from all countries.
For additional questions, please contact email@example.com
TUITION & FINANCIAL AID
WHW Akademija is tuition free. Participants will receive financial aid in the amount of 500 euro monthly to help offset the basic cost of living in Zagreb. Due to the high costs of living in Zagreb, however, participants will need to obtain additional funds for their living expenses. Participants are expected to find their own accommodation in Zagreb, with support provided by the WHW office.
WHW Akademija is funded by Kontakt Art Collection , ERSTE Foundation, Foundation for Arts Initiatives and Trust for Mutual Understanding. Additional funds for the public program have been granted by the Ministry of Culture of Republic of Croatia and City Office for Culture, Education, and Sports of the City of Zagreb.
ABOUT THE PROFESSORS
Banu Cennetoğlu explores the political, social and cultural dimension of the production, representation and distribution of knowledge and asks how it feeds into a society’s collective thought and becomes part of its ideology. She lives and works in Istanbul, where, in 2016, she initiated BAS, a project space focusing on the collection and production of artists’ books and printed matter. In 2016, she was a guest at the DAAD Artists-in-Berlin Program. Solo exhibitions include: Sculpture Center, New York (2019); Chisenhale Gallery, London (2018); Bonner Kunstverein, Bonn (2015); Salonul de proiecte, Bucharest (2013); Kunsthalle Basel, Basel (2011). Selected group exhibitions include: “Stories of Almost Everyone,” Hammer Museum, Los Angeles (2018); documenta 14, Athens and Kassel (2017); “The Restless Earth,” Fondazione Nicola Trussardi, Milan (2017); 10th Gwangju Biennale (2014); Manifesta 8, Murcia (2010); 53rd Venice Biennale/Pavilion of Turkey (2009); 5th Berlin Biennale (2008); and 1st Athens Biennale and 10th Istanbul Biennial (both 2007).
The artistic research of Sandi Hilal and Alessandro Petti is situated between politics, architecture, art, and pedagogy. In their practice, art exhibitions are both sites of display and sites of action that spill over into other contexts: built architectural structures, the shaping of critical learning environments, interventions that challenge dominant collective narratives, the production of new political imaginations, the formation of civic spaces and the re-definition of concepts. Together, Hilal and Petti are co-directors of DAAR (Decolonizing Architecture Art Residency), an architectural studio that explores the reuse, subversion, and profanation of actual structures of domination: from evacuated military bases to refugee camps, uncompleted governmental structures, or the remains of destroyed villages. In 2012, they initiated “Campus in Camps,” an experimental educational program hosted in Dheisheh Refugee Camp in Bethlehem, with the aims to overcome conventional educational structures by creating a space for critical and grounded knowledge production (www.campusincamps.ps). Petti is currently a professor of Architecture and Social Justice at the Royal Institute of Art in Stockholm, where Hilal has initiated the living room, a series of spaces of hospitality that have the potential to subvert the role of guest and host. Their latest book, published in 2018 by Art and Theory, is entitled Permanent Temporariness.
Sanja Iveković was born in Zagreb, Croatia, where she currently lives and works. She was raised in Socialist Federal Republic of Yugoslavia and belongs to the artistic generation covered by the umbrella term “New Art Practice”, that emerged after ’68. Iveković has continuously contested the role of art in society through a wide range of media, at the points of intersection between gender, nation and class. Her work from the 1990s deals with the collapse of socialist regimes and the consequences of the triumph of capitalism and the market economy over living conditions, particularly of women. She has participated in numerous international biennials and major exhibitions, such as the 38th EVA International Biennial, Limerick (2018); Documenta 8, 11, 12 and 13, 14 (1987, 2002, 2007, 2012, 2017); Kiev Biennial, Kiev (2015); Artes Mundi, Cardif (2014); and the Istanbul Biennial (2009, 2007). She has had solo exhibitions at DAAD Gallery, Berlin (2015); the South London Gallery/Calvert 22 (2012-2013); MUDAM, Luxembourg (2012); MAC/VAL, France (2012); MoMA, New York (2011); and the two-part exhibition at BAK, Utrecht, and Van Abbemuseum, Eindhoven (2009.)
David Maljković was born in Rijeka, Croatia. He studied at the Academy of Fine Arts at the University of Zagreb and the Rijksakademie in Amsterdam, and is currently based in Berlin and Zagreb. Maljković’s work is a highly controlled variant exploitation of formalist concerns. While narrative is the driving element at the origination of a project, the artist’s varied means of visual implementation profoundly modifies and compromises its supremacy. The process of construction within a set of formal directives encrypts the narrative and postulates what Maljković describes as a new semantic logic. Virtually all of Maljkovic’s work is engaged with historical and technological markers that are characterized by situations both local and universal. In each, the erosion and corruption of memory are the subjects that are left for the viewer to re-organize. Among Maljković’s selected solo exhibitions are: The Renaissance Society, Chicago (2019); Palais de Tokyo, Paris (2014); Kunstmuseum Sankt Gallen (2014); BALTIC Centre for Contemporary Art, Gateshead (2013); GAMeC, Bergamo (2013); CAC Vilnius (2013); Sculpture Center, New York (2012); Kunsthalle Basel (2012); Van Abbemuseum, Eindhoven (2012, 2005); Secession, Vienna (2011); Museo Reina Sofia, Madrid (2009); Whitechapel, London (2007); CAPC Musee d’art Contemporain, Bordeaux (2007); and MOMA PS1 (2007.) His work has been exhibited in museums such as Kunsthaus Bregenz; MAXXI Rome; MUSAC Museo de Arte Contemporáneo de Castilla y Léon, Spain; The Power Plant, Toronto; Wiels Contemporary Art Centre, Brussels; and Centre Pompidou, Paris. He has participated in numerous large-scale group shows, including the 11th Gwangju Biennale (2016); 56th Biennale di Venezia (2015); La Triennale, Paris (2012); the 29th Sao Paulo Biennial (2010); 11th and 9th Istanbul Biennial (2009, 2007); the 4th Tirana Biennial (2009); and the 5th Berlin Biennale (2008), among others. His works are part of major public collections, such as Centre Pompidou, Paris; MUMOK, Vienna; Museo Reina Sofia, Madrid; MOMA, New York; Stedelijk Museum, Amsterdam; and the Tate Collection, London.
Manuel Pelmuş was born in Bucharest, Romania. He is a choreographer and artist who lives and works in Oslo and Bucharest. Pelmuş could be seen as one of the protagonists of the “new performance turn,” artists who have been reimagining the role of performance in the context of visual arts. He often deploys continuous live presence within the context of exhibitions, using enactment as a strategy and the human body as a medium and a means to explore the body’s relationship to memory and the construction of history. In addition to his recent solo exhibition at Para Site, Hong Kong (2018), Pelmus’s projects have been featured at institutions including the Tate Modern, London; the Museum Ludwig, Cologne; Centre National de la Danse, Paris; TanzQuartier, Vienna; Centre Pompidou, Paris; Van Abbemuseum, Eindhoven; Museum of Modern Art, Warsaw, Tanz im August, Berlin; and the Museum der Moderne, Salzburg, among others. In 2013, he represented Romania at the 55th Venice Biennale with a collaborative project with Alexandra Pirici. He has additionally participated in the Off-Biennale, Budapest (2017), and the Kyiv Biennale (2015). In 2012, Pelmus was awarded the Berlin Art Prize for performance arts and later recognized with the prize for excellence from the National Dance Center of Bucharest in 2015.
Kate Sutton is a writer currently based in Zagreb, Croatia, after nearly a decade in Russia, where she helped found the non-profit art space Baibakov Art Projects. As a curator, she helped bring artists like Paul Pfeiffer, Cyprien Gaillard, Latifa Echakhch, Wade Guyton and Luc Tuymans to Moscow, while also showcasing Russian artists including Ira Korina, Olga Chernysheva and Valery Chtak. In addition to writing for magazines including Artforum, Bidoun, Frieze, Ibraaz, and LEAP, and regularly contributing to artforum.com, she is now an international editor for Artforum. She has penned catalogue essays for artists including Nilbar Güreş, Aslı Çavuşoğlu, Monica Bonvicini, Dorian Gaudin, Basim Magdy, Stefan Sava and Martin Roth. In 2013, she was recognized with an Art Writers Grant from the Andy Warhol Foundation. She has lectured and participated in various conferences and talks programs, organizing the Talks Program for the Vienna Contemporary in 2016 and 2017. Among her recent curatorial projects is “Nathalie Du Pasquier: Fair Game,” which was on view this winter at the International Centre for Graphic Arts in Ljubljana.
What, How & for Whom/WHW (Ivet Ćurlin Ana Dević, Nataša lić, Sabina Sabolović)
2019 Shelter Festival (June 7-9, Helsinki, Finland) - Open Call for proposals!
Are you an artist, activist, educator, musician in the Helsinki area or beyond (Scandinavia, Eastern Europe, Baltic Countries, Russia, etc.)? The Suoja/Shelter festival invites participants to propose projects the 2019 Shelter Festival: Cosmopolitics, Comradeship, and the Commons, a three-day convening for all those working at the intersection of deep ecology, climate resilience, environmental philosophy, ecofeminism, and socially engaged practice.
Proposals could take the form of media art, site-specific installations, performance art, and education, and should reflect on the themes of the 2019 Suoja/Shelter Festival. We encourage proposals that engage creatively and intersectionally with climate migration, gentrification, and tightening borders; forms of queer ecological activism and coalitions that oppose heteronormative agendas and address displacement, violence, food injustice, among others; mapping the ecology of education, from the point of view of recent theories and practices that propose the decolonization of knowledge, as well as that of land, air, and water.
If you are interested in planning to bring into focus these pressing issues within your artistic practice and communities, please submit a proposal for review by April 15, 2019 (23:59 CET).
With the support of the Finnish Cultural Foundation and the Arts Promotion Centre Finland selected artists will receive an honorarium, production budget, and one-night accommodation in Helsinki.
To learn more: http://suojashelter.tilda.ws/artists_call_2019
Comradeship: Curating, Art, and Politics in Post-Socialist Europe
Edited by J. Myers-Szupinska
Foreword by Kate Fowle
Published by ICI, 2019
Comradeship is a collection of essays by Zdenka Badovinac, the forward-thinking Slovenian curator, museum director, and scholar. Badovinac has been an influential voice in international conversations rethinking the geopolitics of art after the fall of communism, a ferocious critic of unequal negotiations between East and West, and a historian of the avant-garde art that emerged in socialist and post-socialist countries in the last century. She has been, moreover, an advocate for radical institutional forms: museums responsive to the complexities of the past and commensurate to the demands of the present.
Gathering writings from disparate and hard-to-find sources alongside new texts, this book offers an essential portrait of a major thinker and a crucial handbook of alternative approaches to curating and institution-building in the 21st century.
“Whip-smart, politically astute, curatorially inventive: Zdenka Badovinac is nothing less than the most progressive and intellectually rigorous female museum director in Europe. This anthology includes key essays accompanying her series of brilliant exhibitions in Ljubljana and is essential reading for anyone interested in the differences between former east and former west. For anyone seeking curatorial alternatives to the neoliberal museum model of relentless expansion and dumbed- down blockbusters, Badovinac is a galvanizing inspiration.”
—Claire Bishop, art historian, and critic
About Zdenka Badovinac
Zdenka Badovinac is a curator and writer, who has served since 1993 as Director of the Moderna galerija in Ljubljana, comprised since 2011 of two locations: the Museum of Modern Art and the Museum of Contemporary Art Metelkova. In her work, Badovinac highlights the difficult processes of redefining history alongside different avant-garde traditions within contemporary art. Badovinac’s first exhibition to address these issues was Body and the East—From the 1960s to the Present (1998). She also initiated the first Eastern European art collection, Arteast 2000+. One her most important recent projects is NSK from Kapital to Capital: Neue Slowenische Kunst – The Event of the Final Decade of Yugoslavia, Moderna galerija, 2015 (Traveled to Van Abbe Museum, Eindhoven, (2016), Garage Museum of Contemporary Art, Moscow (2016) and the Museo Reina Sofía Madrid (2017)); NSK State Pavilion, 57th Venice Biennale, 2017, co-curated with Charles Esche; The Heritage of 1989. Case Study: The Second Yugoslav Documents Exhibition, Modena galerija, Ljubljana, 2017, co-curated with Bojana Piškur; Sites of Sustainability Pavilions, Manifestos, and Crypts, Hello World. Revising a Collection, Hamburger Bahnhof – Museum für Gegenwart – Berlin; Heavenly Beings: Neither Human nor Animal, Museum of Contemporary Art Metelkova, Ljubljana, co-curated with Bojan Piškur, 2018; Badovinac was Slovenian Commissioner at the Venice Biennale from 1993 to 1997, 2005 and 2017, and Austrian Commissioner at the Sao Paulo Biennial in 2002 and the President of CIMAM, 2010–13.
Academic Studies Press is looking for manuscript proposals in Russian studies for our series “Cultural Revolutions: Russia in the Twentieth and the Twenty-First Centuries.” This series, edited by Boris Wolfson from Amherst College, is active from 2009 and steadily produces at least one book a year, presenting lively scholarly dialogue about events, figures, ideas, and cultural artifacts that have defined modern Russian culture. We welcome monographs, thematic collections, anthologies, as well as scholarly guides to authors/thinkers, periods, historical events, and texts that examine the literary, visual and material culture of the “long” twentieth century-from one fin-de-siècle (1890s) to the other (2000s). This series is designed to gather some of the most far-reaching studies in literature, history, visual art, film, theater, and anthropology, to frame key questions that will animate scholarship of twentieth-century Russia for decades to come.
All submitted manuscripts will go through double blind peer review. In-house copyediting, indexing, proofreading and cover art are provided. The process of production, from first submission to book release, will take approximately nine to twelve months. To reach all interested readers, Academic Studies Press will also invest in a marketing campaign, which will include flyers, free review copies, online publications at our website and in social networks, and presentations at relevant conferences. We also make active use of digital representation, and will happily offer the option of uploading the texts to our open access platform in order to increase their visibility.
To submit a proposal, please send a short description of your project (up to 1000 words) to Kate Yanduganova at firstname.lastname@example.org. You are also welcome to visit our webpage to discover more series in various branches of Slavic and Jewish studies that are currently open for proposals.
SHERA-sponsored panel at ASEEES 2019 (Deadline February 1, 2019)
The SHERA Board invites proposals for the Society’s sponsored panel at the 2019 ASEEES Annual Conference. The conference will be held in San Francisco from November 23 to 26, 2019 and the theme is “Belief.” More information on the convention theme can be found here. As an affiliated society, SHERA may submit one sponsored panel. This session has guaranteed acceptance from ASEEES and will be identified as an Affiliated Society session in all ASEEES conference schedules (printed, online, and in the conference app).
Proposed panels must focus on issues of art, architecture, visual culture, or any of the fields concerning SHERA as a Society.
All members of the proposed panel must be members of ASEEES and SHERA in good standing and must register for the conference. Please submit:
- Title and a brief description of the panel (no more than 250 words)
- Names of all panel members, including chair and discussants, and a brief CV (no more than two pages) for each
- Brief descriptions of each paper (no more than 250 words)
Proposals should be sent to email@example.com with the subject heading “SHERA-sponsored panel at ASEEES 2019.”
The deadline for submission of panels to ASEEES is February 15, 2019. Therefore, applications must be sent to the SHERA Board by February 1, 2019 for notification on February 10, 2019.
ArtsLink Back Apartment Residencies for Artists and Curators in St. Petersburg, Russia
The ArtsLink Back Apartment Residency program provides opportunities for international artists and curators to conduct research, create new work, collaborate with the local arts community, and create special projects in St. Petersburg, Russia. Each residency is designed to enable visiting artists and curators to learn about the Russian arts community, develop their own work, and share information about their work and other cultures with local audiences.
CEC ArtsLink currently funds residencies for artists and curators from the United States. CEC ArtsLink provides international travel, visa support and insurance if needed, accommodation, and per diem. Artists from other countries are welcome to apply, but need to seek financial support to cover their expenses. CEC ArtsLink will provide free accommodation in the residency space.
For more information, please contact Residency Coordinator Liza Matveeva at Lmatveeva@cecartslink.org.
SHERA Graduate Student / Independent Scholar Travel Grant for participation in CAA 2019
Thanks to a generous donation from an anonymous donor, the Society is pleased to announce the SHERA Graduate Student / Independent Scholar Travel Grant to defray travel costs through the awarding of up to $1,000 for local travel and up to $1,500 for international travel to one member presenting a paper at the CAA Annual Conference or the ASEEES Annual Convention. The grant is given for five consecutive years (2017-2021), alternating between the CAA conferences and the ASEEES conventions, beginning with CAA 2017 in New York City. The alternating order of the subsequent grants is as follows: CAA 2017, ASEEES 2018, CAA 2019, ASEEES 2020, CAA 2021.
Applications will be evaluated based on the academic merit of the paper topic and financial need. SHERA is especially committed to subsidizing a graduate student or independent scholar who is attending the conference for the first time and presenting a paper, and who has no local institutional resources for travel support. Eligible independent scholars are those SHERA members who have been awarded the Ph.D. within the previous five years. For the CAA 2019 grant, applications are limited to those who have received the Ph.D. no earlier than 2013. Applicants must be SHERA members in good standing and must submit:
- the title and a brief description of their paper (no more than 250 words);
- a brief CV (no more than two pages);
- the names of the chair(s) and the title of the panel in which the applicant is participating;
- and, a brief statement demonstrating need.
For more information on membership or to become a member, see http://shera-art.org/membership/join-shera.php Within two months after the conference, the recipient is required to submit to the SHERA Board a brief report outlining how participation in the conference furthered the development of their research. If the recipient has to withdraw from the conference for any reason, all funds must be returned to SHERA no later than the opening day of the conference. Applications are due December 9 for notification on December 21. All application materials should be sent to firstname.lastname@example.org.
The Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) is pleased to announce the second annual call for submissions for the SHERA Emerging Scholar Prize. The award aims to recognize and encourage original and innovative scholarship in the field of East European, Eurasian, and Russian art and architectural history. The winner will be announced at the Society’s annual meeting at ASEEES, scheduled for Friday, December 7, 2018.
Applicants must have published an English-language article in a scholarly print or online journal, or museum print or online publication within the preceding twelve-month period. For the 2018 prize, articles published between September 30, 2017 and September 30, 2018 are eligible. Additionally, applicants are required to have received his or her PhD within the last 5 years (2013 or thereafter for the 2018 prize) and be a member of SHERA in good standing at the time that the application is submitted. The winner will be awarded $500 and republication (where copyright allows) or citation of the article on H-SHERA.
To apply, please email a CV including contact information (email, mailing address, and telephone) and a copy of the English-language article with header/colophon of the journal or catalogue together with a brief abstract to email@example.com no later than October 22, 2018.
To join or renew membership in the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA), please visit http://shera-art.org/membership/join-shera.php.
Last year’s awardee was Prof. Christina E. Crawford of Emory University for her essay “From Tractors to Territory: Socialist Urbanization through Standardization.”
Society of Historians of Eastern European, Eurasian and Russian Art and Architecture invites applications for a SHERA Travel Grant to the upcoming ASEEES 50th Annual Convention, Boston MA, December 6-9, 2018.
GRANT AMOUNT: $1000 USD for travel from North America and $1,500 for travel from overseas (another continent)
All applicants must be:
- A student working at either the master’s or doctoral level with a thesis or dissertation topic related to Eastern European, Eurasian and/or Russian art and/or Architecture;
- Presenting a paper at a panel at this year’s ASEEES Conference (chairs, discussants, and any other type of participants are not eligible to apply)
- A member of SHERA at the time of application;
- Live outside the conference city;
- Have not been recipients of this grant in the past.
DEADLINE: August 15, 2018
Notifications will be sent by September 15, 2018
APPLICATIONS must be emailed to:
SHERA Art and Architecture
as well as Karen Kettering
• Complete with contact information, paper title, and abstract,
• Brief CV, listing relevant grants, publications, and talks.
The grant will be disbursed at SHERA’s Business Meeting at the ASEEES conference by Vice President/President Elect Karen Kettering.