1. Deadline approaching: photography contest From: Census of India
2. 2012 Olympics photography contest launched From: UIPM
3. Start-up program supports first-time filmmakers From: Canon Middle East
4. Competition for writing on forestry issues launches From: ENPI-FLEG
5. Environmental Film Festival From: EFF
6. Filmmakers use social media to create documentary of Egypt protests From: Dana Liebelson Screenshot
7. Photo contest for portraits of St. Petersburg accepting entries From: Journalist's Union of St. Petersburg
8. Song contest raises awareness about crimes against journalists From: IAPA
9. New Hope for Lost Works of Modern Art from Iraq From: MAIA
10. Finding One’s Identity in Hypercultural Space (Article) From: Universes-in-Universe
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1. Deadline approaching: photography contest
Posted by: "Census of India" Census of India art4development
Mon Mar 14, 2011 6:58 am (PDT)
India's census bureau launched a photography contest to show that the second most populous country in the world has "strength in numbers."
The Census 2011 photography contest, sponsored by the Census of India, seeks photos that are related to that theme. The aim of the contest is to show that India's population is not an obstacle to success, but in fact a plus.
At last head count, figures show India as the second most populous country in the world after China with over 1.18 billion people, more than a sixth of the world's population.
To enter, upload a photo on the Census of India Facebook page with a justification of how it relates to this theme.
The first prize is a single-lens reflex (SLR) camera worth INR25,000 (about US$500), and there are also prizes for second and third place.
For more information, click here.
http://www.facebook.com/Census2011#!/Census2011?v=app_7146470109
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2. 2012 Olympics photography contest launched
Posted by: "UIPM" Union International de Pentathlon Moderne art4development
Mon Mar 14, 2011 6:58 am (PDT)
Photographers who want to their test stamina for sports coverage can enter a contest to cover the 2012 London Olympics.
To win that all-expenses paid trip, they'll have to be one of the best photographers to cover a pentathlon event held this year in: Palm Springs (US), Sassari (Italy), Budapest (Hungary), Chengdu (China)m, London (Great Britain) and Cairo (Egypt).
The Union International de Pentathlon Moderne (UIPM) is sponsoring the UPIM Road to London Olympics Photography Competition. The modern pentathlon includes five events: pistol shooting, € ¦ép€ ¦ée fencing, freestyle swimming, show jumping and cross-country running. The competition aims to find the five best photographers to cover the events of the 2012 Olympic games.
Based on their applications, candidates under consideration will be invited to cover one of six official UIPM events in 2011. A list of the dates can be found here.
Applicants will be notified 2 weeks prior to an event if they have been accepted and will be evaluated on their portfolio, work ethic and flexibility while working the event. Only three photographers will be invited to cover each event.
Candidates must be able to cover accommodation, travel and time during the competition, be at least 18 and have their own camera. The winners will have all expenses paid during the 2012 Olympic games, which take place from August 9 to 13.
Applications must be submitted two weeks prior to the competition the photographer wishes to take part in. For more information, click here.
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3. Start-up program supports first-time filmmakers
Posted by: "Canon Middle East" Canon Middle East art4development
Mon Mar 14, 2011 6:58 am (PDT)
First-time filmmakers can apply for financial and production assistance.
The BLOOM! Cine Startups Initiative, sponsored by Canon Middle East and D-Seven Motion Pictures, will provide support to independent filmmakers through assistance with permits, fund raising, script editing and marketing. The initiative also includes access to cameras, freelance professionals and postproduction facilities for a substantially reduced cost. Short films are preferred, but documentaries and feature length films are also considered.
The accepted budgets for films ranges from AED30,000 to AED300,000. D-Seven Motion Pictures will then allocate a 50-70% discount. Five to seven projects will be accepted a year.
The ideal candidate would have a first draft script. The program is open to all nationalities and ages, but projects must have an angle relevant to the United Arab Emirates and the Arab world.
For more information, click here.
http://www.d-seven.com./mp/index.php/bloom-cine-startups
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4. Competition for writing on forestry issues launches
Posted by: "ENPI-FLEG" ENPI-FLEG art4development
Mon Mar 14, 2011 6:58 am (PDT)
Enter your stories on forestry issues-logging, conservation, and legal issues-in a contest.
The competition is organized in honor of the United Nations International Year of Forests and supported by ENPI-FLEG, the Forest Law Enforcement and Governance (FLEG) Program.
Topics of entries include struggle against illegal logging, corruption, comparison of law in Ukraine and the European Union, forest protection in Ukraine, research and more.
Entries must be published in 2010-2011.
For more information (in Russian), click here
http://www.unian.net/rus/news/news-420158.html
or (in Ukrainian), here.
http://www.fleg.org.ua/index.php?id=27
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5. Environmental Film Festival
Posted by: "EFF" EFF art4development
Mon Mar 14, 2011 6:58 am (PDT)
March 15, 2011 – March 27, 2011
The 19th annual Environmental Film Festival in the Nation's Capital, March 15 through 27, will present 150 documentary, narrative, animated, archival, experimental and children's films selected to provide fresh perspectives on environmental issues facing our planet. The critical connections between energy and the environment are a major theme of the 2011 Festival, which features cinematic work from 40 countries and 81 Washington, D.C., United States and world premieres. Fifty-five filmmakers and 94 special guests will discuss their work at the Festival.
The Environmental Film Festival has become the leading showcase for environmental films in the United States. Presented in collaboration with over 100 local, national and global organizations, the Festival is one of the largest cooperative cultural events in the nation's capital. Films are screened at 60 venues throughout the city, including museums, embassies, libraries, universities and local theaters. Most screenings are free.
For a complete schedule, visit the Festival Web site at www.dcenvironmentalfilmfest.org. Photographs are available on our Web s
ite under the press section or by email from info@envirofilmfest.org. To receive a film brochure, sign up for our mailing list on the Web site, email us at info@envirofilmfest.org or call 202-342-2564.
Contact Information
Environmental Film Festival
1228 1/2 31st Street, NW
Washington, DC, 20007
Phone: 202-342-2564
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6. Filmmakers use social media to create documentary of Egypt protests
Posted by: "Dana Liebelson Screenshot" Dana Liebelson Screenshot art4development
Mon Mar 14, 2011 6:58 am (PDT)
What do the words "#jan25" and "#ndpbuilding" have in common? These are just two of the hashtags filmmakers are using to create a timeline of the protests in Egypt in a crowdsourced documentary project.
The project, dubbed "#18DaysinEgypt," is collecting tweets, videos, photos, emails and text messages to create a documentary of protests in Egypt from January 25 to February 11, when President Hosni Mubarak abruptly resigned.
The goal of this collective reporting project is to tell the story of the Egyptian revolution utilizing the same real-time media tools that people used as the events unfolded.
Interested participants should tag their media in Twitter, YouTube and Flickr with #18DaysinEgypt. Remember to include info on the time and date where the material was taken, as well as the location and a description. Text messages and MMS photos/videos will also be accepted soon.
A full list of relevant tags can be found on the website. Participants can only tag media that they, or friends have created — in other words, do not tag professionally-edited and produced pieces.
The project's team is made up of two documentary filmmakers, Jigar Mehta and Alaa Dajani, and software developer Yasmin Elayat. Ultimately, they plan to put the project online and create a feature documentary shot entirely by those who experienced the events.
To learn more, click here.
http://www.18daysinegypt.com/#
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7. Photo contest for portraits of St. Petersburg accepting entries
Posted by: "Journalist's Union of St. Petersburg" Journalist's Union of St. Petersburg art4development
Mon Mar 14, 2011 6:58 am (PDT)
Photographers who live in St. Petersburg, Russia are invited to submit portraits of their city for a contest.
Called the "Positive and Negative Sides of St. Petersburg," the contest is open to Russian nationals as well as foreigners who live in the city.
Applicants can submit up to five photos reflecting their city in a positive light and five which show it in a negative one. Unedited photos are preferred. The best photos will be published.
The competition is endorsed by the Journalist's Union of St. Petersburg and Leningrad Region.
For more information (in Russian), click here.
http://www.fotonarod-spb.ru/
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8. Song contest raises awareness about crimes against journalists
Posted by: "IAPA" IAPA art4development
Mon Mar 14, 2011 6:58 am (PDT)
A song contest called "Lend Your Voice to the Voiceless" hopes to raise awareness about crimes committed against journalists in Latin America.
It is organized by the Inter American Press Association IAPA through their Impunity Project, which was founded in 1995 to fight violence against journalists and reduce the impunity that surrounds most of the crimes.
To enter, contestants must upload a one-minute video, either as a singer or songwriter. The contest winner will receive a USD$5,000 prize.
So far, 61 songwriters and 65 performers have entered their videos. You can also vote on the videos, one vote per person per day. Song entries run the gamut of musical styles — from rap to more traditional ballads.
For more information (in Spanish) click here.
http://www.donatuvoz.com/esp/
For information in English, click here.
http://www.sipiapa.com/v4/index.php?page=cont_comunicados&seccion=detalles&idioma=us&id=4528
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9. New Hope for Lost Works of Modern Art from Iraq
Posted by: "MAIA" MAIA art4development
Mon Mar 14, 2011 6:58 am (PDT)
Online Archive Educates and Encourages Public Participation to Trace Lost Works
The Modern Art Iraq Archive (MAIA), just made public, started as the result of a long-term effort to document and preserve the modern artistic works from the Iraqi Museum of Modern Art in Baghdad, most of which were lost and damaged in the fires and looting during the aftermath of the 2003 US invasion of Iraq. As the site shows, very little is known about many of the works, including their current whereabouts and their original location in the Museum. The lack of documents about modern Iraqi art prompted the growth of the project to include supporting text. The site makes the works of art available as an open access database in order to raise public awareness of the many lost works and to encourage interested individuals to participate in helping to document the museum's original and/or lost holdings.
The MAIA site is the culmination of seven years of work by Project Director Nada Shabout, a professor of Art History and the Director of the Contemporary Arab and Muslim Cultural Studies Institute (CAMCSI) at the University of North Texas. Since 2003, Shabout has been collecting any and all information on the lost works through intensive research, interviews with artists, museum personnel, and art gallery owners. Shabout received two fellowships from the American Academic Research Institute in Iraq (TAARII) in 2006 and 2007 to conduct the first phase of data collection. In 2009, she teamed with colleagues at the Alexandria Archive Institute, a California-based non-profit organization dedicated to opening up global cultural heritage for research, education, and creative works. The team won a Digital Humanities Start-Up Grant from the U.S. National Endowment for the Humanities to create an open, comprehensive virtual archive of the works that were once housed in Museum's various galleries. These significant national treasures are displayed in an open format that invites worldwide use, including the Iraqi national and expatriate communities, and users are encouraged to help identify and further document individual pieces.
The aim of MAIA is to map out the modern art's development in Iraq during the twentieth century and be a research tool to scholars, students, authorities, and the general public, as well as raise awareness of the rich modern heritage of Iraq. Furthermore, the creation of an authoritative and public inventory of the collection will not only act as a reminder of their cultural value and thus hopefully hasten their return, but will help combat smuggling and black market dealings of the works.
More information:
http://artiraq.org/maia
contact@artiraq.org
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10. Finding One’s Identity in Hypercultural Space (Article)
Posted by: "Universes-in-Universe" Universes-in-Universe art4development
Mon Mar
14, 2011 6:59 am (PDT)
Finding One's Identity in Hypercultural Space
A German-Indonesian Exchange Project
By Christina Schott
Indonesian art: in Germany, until recently people thought primarily of Balinese temple masks in anthropological museums. In the course of globalization, when a few progressive curators recognized that contemporary art plays a role also in countries like Indonesia, works by Indonesian artists began appearing more and more frequently in European exhibitions. But usually these were the same already internationally successful artists. No curator will burn his fingers with such a selection, because the works generally already conform to the globalized taste of the art world and thus fit Western understanding.
Rare are exhibitions that are not limited to the anthropological gaze at an "exotic" region but still try to address the different national identities of artists € ¦’¶ and that may even make their selections on the basis of the degree to which the artists' concepts have to do with a search for identity in the multi-cultural mishmash of the globalized world.
ID € ¦’¶ Contemporary Art Indonesia in the Kunstraum Kreuzberg/Bethanien is such a project. It already began in 2007 in Indonesia's cultural metropolis Yogyakarta with a German-Indonesian exchange of artists. But here the exhibition's organizers went one step further and ask whether the concept of interculturality isn't an outmoded € ¦’¶ Western € ¦’¶ concept in modern hypercultural space: the diverse cultural forms were to exist beside each other in equality without fitting into an overarching system, thereby exploding the boundaries of a standardizing idea of multicultural exchange.
Against this background and with the key word "identity", 13 Indonesian, German, and Dutch artists addressed the intercultural contexts of their experiences in Indonesia or Europe. The focus thereby was on finding not only one's national or individual identity, but also collective, multinational identities, the intercultural exchange in the group, or boundary experiences between binational couples, friends, or colleagues.
The artist Rizki Resa Utama, who is studying in Braunschweig, addresses the theme in a simple but effective way. In large-format double-photographs, he stages himself as the doppelganger of friends and acquaintances, whereby it becomes astonishingly clear how greatly external appearances affect the appearance of a person's character. The video artist Prilla Tania of Bandung uses stop-trick technology to place herself in rooms drawn in chalk. One of the things her video Ini Ibu Budi is about is her critical stance toward the salute to the flag in her country. In a workshop, she used the same technology to help pupils of Berlin's Robert Koch High School to explore their understanding of their own identity.
In her works Indonesia I&III, Jorinde Voigt of Frankfurt translates the rhythm of life that she experienced in Indonesia into visual scores. They include motor noises and animal sounds, the noise of a market and the multilingual murmur of voices at an event.
The broad thematic framework of the exhibition is also its greatest weakness. The spectrum of works spreads so far apart thematically and formally that it leaves not a few visitors bewildered. The presentation by the Forum Lenteng collective of Jakarta and that by the artists' group Mes 56 of Yogyakarta are difficult for the uninitiated to understand without further explanation. Overall, more information is needed, for example the respective concepts of the artists.
The installation artist Setulegi of Yogyakarta learned this while he worked on site in an open studio; almost every visitor asked him for background information on his installation Tanah Tumpah Darah. It is about political identities and social contrasts: the first part of the work shows the jungle in Papua being clear cut to make way for huge palm oil plantations. In front of this image on the wall, the heads of aborigines sink into the mud of the bird's-head-shaped peninsula in eastern Indonesia. In the second part of the installation, the Javanese artist answers his own work, now from a Berlin perspective: the destruction in faraway Papua is rooted in the anonymous big-city life of the West, for hardly any product of our daily life is without palm oil. And Indonesia is its primary producer.
Understandable across all boundaries and forms of society is the remarkable performance series Birdprayers by the Indonesian-Dutch artist couple Arya Panjalu and Sara Nuytemans. Under the title All in the Mind, groups of four performers put their heads in boxes inspired by birdhouses and shaped like a church, a mosque, a temple, or a synagogue. Their field of vision is limited to the small opening in their respective house of worship. Without accepting any influence from their surroundings, the performers stand once in a rice field in Bali, once on a square in Istanbul, walk through the bird market in Yogyakarta or around the Coliseum in Rome. For their most recent performance in Berlin, four actors forced themselves into birdhouses of worship constructed from fast food packaging and stepped onto the subway at Alexanderplatz Station. The hardboiled Berliners could barely bother to glance at the odd birds beside them. Here, apparently, the multinational identity-finding has arrived on the hypercultural level that the exhibition's organizers aim for.
