Call for Submissions: Scotiabank Nuit Blanche Projects

Submission Deadline: Tuesday, February 17, 2015.

Late or incomplete applications will not be accepted.
For more information, email: ips@toronto.ca.

Independent Projects

The Independent program has been assigned a curator for the first time in its 10-year history.

Toronto artists, museums, galleries, cultural and educational institutions, neighbourhoods and BIAs are invited to submit their proposals to be an Independent Project under the curatorial vision of “Memory Lane.”

Watch Curator Che Kothari explain his curatorial vision for “Memory Lane” in a new video , visit the FAQs, Independent Projects 2015 Application Guidelines and Independent Projects 2015 Application for more details.

New this year – “10 for 10th”

To celebrate the 10th edition of Scotiabank Nuit Blanche, the City of Toronto is engaging major cultural organizations across the city and creating a City co-produced exhibition area that responds to the curatorial vision, “Memory Lane” for the Independent Project program. “10 for 10th” is an application process within the Independent Projects program where artists can apply to have their project situated in one of the participating partner venues with funding and production support provided.

The “10 for 10th” venues are listed in the Independent Projects Application form.

How to Apply:

  • Download the event GUIDELINES (PDF) and appropriate APPLICATION form.
  • Read the Guidelines before completing the Application.
  • For the “10 for 10th” and Independent Projects you can choose to apply to one or both programs using the same Application form.
  • Complete all fields within the Application form. If you’re not able to access the Word forms, please email ips@toronto.ca to request assistance. (Please note that in order to be considered you must fill out the relevant Application form and adhere to all programming criteria and submission requirements).
  • Email your Application and attachments to ips@toronto.ca. Please label your email subject heading as “Independent Project Application” and add your ARTIST/ORGANIZATION NAME. e.g. Subject: Independent Project Application – from Art Group Name.
  • You may send email attachments including PDF, jpg, mp3 and avi files. Please do not send eps or psd files. This mailbox can only accept attachments up to 5MB in total size. Please label all attachments with your name and your project’s title.
  • If your Application was submitted successfully, you will receive an email response within two business days. If you do not receive this message, your Application was not submitted successfully.

FAQ – Frequently Asked Questions

Submission Deadline – “10 for 10th” and Independent Projects: Tuesday, February 17, 2015.

Late or incomplete applications will not be accepted.
For more information, email: ips@toronto.ca.

Applicants should be aware that their participation in Scotiabank Nuit Blanche’s Open Call, Independent Projects and “10 for 10th” is not automatic solely on the basis of meeting the general eligibility requirements. All Applications are curated/juried against the criteria outlined in the Guidelines and selected based on artistic merit and project feasibility.

Follow: @sbnuitblancheTO Tag: #snbTO
Website: scotiabanknuitblanche.ca

See more at: http://www2.ocadu.ca/event/7741/call-for-submissions-scotiabank-nuit-blanche-projects#sthash.tWrCcb5j.dpuf 


 

Silence!: McGill Art History and Communication Studies Graduate Student Conference

CFP Deadline: March 1st, 2015.
Conference Date: April 24, 2015.
Venue: McGill University, Montréal

What is silence? How is it kept or broken? Silence is often used to describe who and what is repressed and subjugated: “being silenced” and “not having a voice.” This conference aims to explore the relations between silence, the unspeakable and the unheard, as well as the ways in which silence is represented, interpreted, and subverted.

John Cage visited Harvard University’s anechoic chamber in 1951, a year before composing his silent piece 4’33”. In this room that muted all environmental sounds, Cage heard the low and high sounds of his blood churning and his nervous system rushing: “There is no such thing as silence. Something is always happening that makes a sound.”3 Cage’s denial of the absence of sound and consideration of contingent sounds reveals the pervasive rhythm of life and the impossibility of silence. The “linguistic turn” in contemporary philosophy exposed silences by attempting to elucidate the limits of language and intelligibility.

If we consider silence to be a moment in language, rather than something which lies outside of it, how can we interpret and listen to silence? In the Preface to his Tractatus Logico-Philosophicus, Ludwig Wittgenstein writes that “What can be said at all can be said clearly, and what we cannot talk about we must pass over in silence.”4 Although he denies that ideas that cannot be reduced to logical states of affairs can be meaningfully expressed through language, Wittgenstein recognizes that these silences can be expressed through means other than language. The limits of language outlined by Wittgenstein shed light on the exclusionary powers of speech and communication, and the ways in which silence and discourse are strategically employed in power relations.

As Derrida points out, silence is the source of all language. Rather than positing silence as an absolute negation of speech, Derrida suggests that it is a necessary condition for the possibility of meaning. Listening to the haunting echoes that lie on the horizon of sound, just beyond our hearing, entails perceiving the absences that allow sounds to be heard. Nevertheless,
silencing often operates as a tool to establish power and exclude.

Theorists and philosophers such as Derrida, Gayatri Chakravorty Spivak, Homi K. Bhabha and Edward Said have sought to reveal the epistemic silences of our social and political structures. If silence has become a form of quiet consent in an age where power and language are one, how can we rethink silence as an expression of resistance or subversion? By creating a silent space where the voices of the “unspoken” can be heard, how can silence resist and subvert dominant discourses? How can we be attuned to the cacophony of silences and their multiple meanings?

We invite paper proposals from various disciplines and historical periods that address silence and various forms of silencing as object of study, metaphor, and methodology. We also invite paper proposals that seek to critique the notion of silence and silencing.

Possible topics include, but are not limited to:

  • Silenced Subjectivities
  • Feminist/Critical Race Theory Critiques of Language and Considerations of Silence
  • Silence as Exclusion and/or Violence
  • Silenced Histories
  • Quiet Forms of Resistance
  • Body Talk/Body Language
  • Political Silence and Political Silencing
  • Sounds and/of Silence
  • The Aesthetics of Silence
  • Silence and the Urban Soundscape
  • Silence and Architecture, Visual Art, Cinema, Dance, Theatre and Performance.
  • The Practice of Censorship/Anonymous Authorship
  • Considerations of Deafness and Disability
  • The Time of Silence
  • Critiques of the Concept of Silence

The 2015 Art History and Communication Studies Graduate Student Conference will include the participation of the department’s faculty members. We invite graduate students, academics, artists, activists, and independent researchers to submit 20 minute conference paper proposals.

Paper proposals (max 500 words) should be sent to ahcs2015@gmail.com by March 1st, 2015