Commemorative Site for Enslaved and Exploited People
Submitted by marisapascucci on Wed, 11/03/2021 - 12:31
public sculpture
Commemmoration
Davidson College is a liberal arts institution dedicated to cultivating humane instincts and disciplined, creative minds. Our community touchstone is the Reformed Tradition of the Presbyterian Church, a tradition rooted in the belief that all lives are valuable, equal, and deserving of dignity.
Founded in the American South in 1837, less than thirty years before the Civil War, Davidson College recognizes our participation in slavery and responsibility for the pain and mistreatment of enslaved and exploited people throughout our history.
In 2017, Davidson College embarked on a study of our institution's ties to enslavement and the exploitation of labor. We created a Commission on Race and Slavery to undertake this multiyear project, and the Commission presented their findings in August of 2020 (full report here).
In response to recommendations from the Commission, in order to fully and honestly confront the wounds and blind spots of our past and to be true to our Statement of Purpose, a Special Committee on Commemoration was formed. The Committee was tasked to engage broadly with the Davidson College community to recommend a visible and appropriate commemoration, including the possibility of commissioning a work of art to not only honor the contributions of enslaved people and exploited laborers but to more deeply reflect on the lives affected, to celebrate them, and ground us in our commitment for just and humane action in the future.
GROUNDING VALUES
In discharging its responsibilities, this Committee will be guided by these values:
-Davidson College is committed to acknowledging our institutional history honestly and fully.
-Davidson College is committed to also acknowledging the range of ways in which individuals have contributed to Davidson's history honestly and fully.
-Davidson College is committed to building a genuinely inclusive campus in the present and future.
Project budget estimated to be $3,000,000-$4,000,000
Davidson College is accepting qualifications from creative individuals or teams that include professional artist(s) in partnership with landscape architects, architects, and/or engineers to create a commemorative project, integrating artwork and landscape.
The selected finalist will be asked to create a permanent, interactive space and artwork sited at a highly visible and prominent location on the Davidson College campus, determined by the Special Committee on Commemoration. The completed space and artwork will serve as a nexus for healing, reflection, recovery, and a reaffirmation of Davidson's commitment to equality and justice in keeping with the Project Background stated above. Its goal is to facilitate intimate individual experiences as well as support both formal and informal collective gatherings of members of the campus and the broader community, including ongoing speaker presentations and campus events.
A committee of representatives from the college will select a pool of creative finalists from the Request For Qualifications to move forward in developing specific proposals. The final project will be managed by the Van Every/Smith Galleries, Davidson College's Facilities Planning and Use Committee, and the Board of Trustees.
The design of the commemorative project should achieve a cohesive aesthetic experience that is distinguished from, yet sensitive to, the site, character, architecture, and sculpture around the college's campus.
-Though Davidson's historical record as it pertains to enslaved people is limited, the commemorative project will incorporate information from the College's archives to acknowledge individuals and family legacies.
-The commemorative project will acknowledge the atrocities, injustices, omissions, and blindspots of the past while also imagining a new future. The site should provoke empathy, and focus on perseverance, triumph, and the valuable contributions of those being commemorated.
-The commemorative project should include an interactive element and engage multiple senses.
-The commemorative project should visualize/acknowledge the absence of information. The design should allow for the incorporation of new information and research as it is uncovered.
-The commemorative project should focus on the roles and history of Davidson College and the town of Davidson in the larger institution of slavery.
-The commemorative project should combine artwork, landscape design, and functional infrastructure to accommodate individual, intimate experiences as well as community collective experiences such as gatherings and events for community members of all ages and abilities.
-The commemorative project must be constructed of durable materials capable of withstanding the elements and campus use for a duration of 20+ years.
ARTIST/DESIGN TEAM ELIGIBILITY
-This call is open to all professional artists/architects/design teams who have experience managing, designing, and completing public art commissions.
-Demonstrated management of projects of similar scope and scale is also a qualifying credential.
-Strong preference will be given to individuals or teams with leading members who embody and understand the African-American/Black experience.
-Eligibility must be demonstrated in the application materials submitted. Exceptions will only be considered for those who can compellingly demonstrate why their experience is exceptional and sufficient to fulfill any of these requirements.
SELECTION PROCESS & TIMELINE
Submissions Due by 11:59pm
Applicants will submit requested qualifications via SlideRoom.
January 2022 – March 2022
Applications Reviewed
The jury, appointed by President Carol Quillen and the Board of Trustees, will identify the most highly qualified artist(s)/architects/teams for this opportunity from past work samples.
March 2022-April 2022
Selection of Finalists
Virtual interviews will take place and the jury will determine a shortlist of three finalists and three alternates. The Special Committee on Commemoration will present their recommendations to the Campus Planning and Use Committee and the Board of Trustees for approval at their April 2022 meeting.
May-August 2022
Research/Pre-proposal Development
Each of the three finalists will be awarded a $10,000 honorarium to develop a pre-proposal based on the final site determined by the Special Committee on Commemoration. The fee includes all project related costs such as design fee, travel, materials, etc. The finalists will be expected to engage with stakeholders, including college archivists/historians, physical plant, students, faculty, alumni, and community members in order to learn more about Davidson's history, site, and scope for the commemorative space. Details of this process are forthcoming.
The pre-proposal should successfully respond to the criteria outlined in the Request for Qualifications. The finalists will present conceptual designs, schematic plans, 3-dimensional sketches/representations, and other materials to convey the design concept to the selection committee and the college community. The finalists should make recommendations about how they will engage the community throughout the process. A budget estimate is required at this stage.
Finalist Presentations
The finalists will have an opportunity to present their pre-proposal design and qualifications to the jury during a campus interview. Proposals will be shared with the wider community for public comment.
Final Selection
The jury will select one (1) finalist based on their written and visual pre-proposal and qualifications to recommend to the Board of Trustees.
At this point, the finalist will be expected to work closely with various stakeholders to revise and finalize their design/concept.
As part of the contract between Davidson College and the selected finalist, a specific schedule/timeline beyond October 2022 will be agreed upon, from community engagement through final design approval, fabrication, installation, and dedication.
Exact site details will be provided to selected finalists in advance of preparing their pre-proposal.
The total budget for the project is estimated to be $3,000,000-$4,000,000 which includes all costs associated with the project including design and engineering fees, all reimbursable expenses for the artist/team, mock-ups, materials, fabrication, utilities, surveys, testing, engineering, construction, commissioning, and owner contingency.
Please address questions to Lia Newman, Director/Curator of the Van Every/Smith Galleries at linewman@davidson.edu. A compilation of FAQs will be addressed on the project's website.
Application must be received via SlideRoom by 11:59 p.m. Eastern Daylight Time on January 7, 2022.
The following materials must be uploaded:
-Credentials: A resume or Curriculum Vitae (CV) demonstrating professional history and skills or experience. If applying as a team, all team members must submit resumes.
-Statement of Interest: A brief introductory narrative that also provides insight about your interest in this project.
-Images of recent work, completed in the last 10 years: Up to ten (10) images or three digital video or movie files (2- 3 minutes each maximum).
-Annotation: Artist/creative team participants, Title, date, media, dimensions, location of project, additional collaborators, indicate permanent or non-permanent, museum/municipality/organization that commissioned the project, and project budget for all submitted images.
ChoreoLab - Made in Ulm
Submitted by PabloSansalvador on Wed, 12/25/2019 - 18:47
"ChoreoLab – Made in Ulm 2020". 249 Choreographic Failures.
Following the success of the choreographic works created, sold out performances and critical acclaim we are proud to announce our second open call for "ChoreoLab – Made in Ulm" in 2020. We are offering three choreographic residency opportunities to talented upcoming dance makers. This is an open call to choreographers up to 35 years young on the 21st of August 2020. We will commission talented emerging creators and give them the opportunity to conceptualise, create, execute and premier their work in a black box stage with four professional dancers. You will be collaborating with local choreographer Pablo Sansalvador to create an evening of dance inspired by this years theme and title: '249 Choreographic Failures' (249CF).
The 2020 theme is in memory of Albrecht Ludwig Berblinger's 250th birthday. Berblinger was an ingenious and a risk-taking inventor from Ulm. Better known as "Schneider von Ulm" he went down in history in 1811 for his failed flight attempt.
As part of the anniversary celebrations "Berblinger 2020" is generating artistic works based on innovation, inventiveness, courage and adaptability in our urban society. Berblinger's resilience through failure is what defined him and what inspires us. "ChoreoLab – Made in Ulm" is honouring Berblinger by inviting dance makers to create choreography from a leaping off point that we constantly try to avoid; Failure.
We invite dance makers, choreographers, film-makers and artists to connect to create a 60 second short film demonstrating a 'Choreographic Failure'. A jury will select 10 finalists of whom each will be awarded 100 euros for their efforts. Then the ten shortlisted films will be shared in a public space where people from Ulm can watch each film and vote for whom they would like to see awarded the residency. We have up to three one week residencies to offer. Be brave, there is no wrong way to fail.
How will the winners of the residency be selected?
A jury will select 10 finalists by the end of May and each will be awarded 100 euros. The ten finalist films will be displayed in a public space in Ulm's city centre and presented during the Ulm Moves Dance Festival in June 2020. Members of the public and dance aficionados will vote for up to three choreographers to create a short work representing 'choreographic failure' for ChoreoLab - Made in Ulm 2020.
What does the residency offer?
-A fee for the creation of your work
-A travel budget to Ulm and local accommodation during your stay
-Four professional dancers to create the piece
-A creation week with a minimum of 32 hours rehearsal with the four dancers, inside the performance space
-A professional recording of your piece and a 60 second trailer
-Photographic documentation of your creation week and performance
-A 'production week' to establish lighting, costumes and final rehearsals
-Press release and press reviews
-Rehearsal and performance space
When will the residency take place?
There will be four creation weeks and one production week in 2020:
Creation Week 1: 20-25 July
Creation Week 2: 27th of July to the 1st of August
Creation Week 3: 3-8 of August
Creation Week 4: 10-15 of August
Production Week 5: 17-20 of August*
Performances @ 1900hrs on the 21,22,23 of August*
*Important: apart from the creation week, choreographers are required to be there for the entire production week and all three performances from the 17-23 August. Inside the online application you will be invited to state your preferred creation week.
Where will the residency and performance take place?
ROXY Ulm (LABOR 1|12) non-profit GmbH
Schillerstraße 1/12, 89077 Ulm, Germany
If you are offered the choreographic residency what requirements must you meet?
-Under the age of 36 years on the 21st of August 2020
-The capacity to portray this years 'ChoreoLab – Made in Ulm' theme 'Choreographic Failure' in a original and engaging manner
-An ability to create quality choreographic material under tight time restrictions
-The capability to work as a team player within a professional environment
-The capacity to create an original work with a duration between 12- 15 minutes
-Skills at creating your own lighting and executing a technical and production rehearsals efficiently
-Have a track record of previous choreographic works
-Living in Europe, preferably close to Ulm
-Appreciate the value in having the local community watch open rehearsals and previews of your work.
-Have ambition and vision to present and perform the work you created for the 'ChoreoLab-Made in Ulm' in other venues, festivals, theatres and choreographic competitions etc…
Submitted by rbrtdngl on Thu, 12/12/2019 - 17:35
Call for artist collaborator with Chloe Dewe Mathews and The Ballad of Peckham Rye
February – April 2020 (9 hours) Honorarium: £150 Please note the honorarium is for the initial time required to develop a collaborative proposal.
Since 2013 artist Chloe Dewe Mathews has developed a body of work that explores the urban environment of the London Borough of Southwark and its rich community of African churches. Sunday Service (2013), commissioned by Tate Modern, explored the reinvention of architectural space in the urban environment, cataloguing a rapid shift from industrial to religious space, while its companion piece, Congregation (2015), looked more closely at the collective religious experience and the nature of expressive worship. Many of Dewe Mathews's projects take years of preparation, however this body of work is unique in that it represents a sustained engagement with the specifics of her local area and its communities over an extended period.
Dewe Mathews initially produced Sunday Service as a response to the remarkable fact that in 2011 Southwark had the highest density of African Christianity anywhere in the world outside Africa. Five years on, Dewe Mathews is interested to return to this subject and has been working with Dr. Andrew Rogers (Principal Lecturer in Practical Theology) at Roehampton University on new research that suggests the African population is now moving east, away from Southwark. Peckham has been going through the process of gentrification for over a decade and much anecdotal evidence from church leaders suggests that issues finding space are more keenly felt within the community than ever.
TBOPR are seeking to commission Dewe Mathews to develop a new work that would use the research and questions posed in Sunday Service and Congregation as a starting point, from which to examine the specific nature of Pentecostal worship in Peckham today. As part of the commission we are seeking to develop a collaborative partnership with an artist whose practice explores similar themes and/or has a connection to local communities in Southwark, to ensure this project brings a necessary and relevant response to Peckham's changing religious landscape. We envisage the collaboration will result in a co-authored work made in discussion with TBOPR and other members of the community.
Sunday Service (2013) C-type print photographic series, 150 x 120 cm and 76 x 61 cm Sunday Service was commissioned by Tate Modern in 2013. The work was exhibited in the McAulay Gallery, Tate Modern, 28 May – 13 July 2014 and was accompanied by a free publication.
http://www.chloedewemathews.com/sunday-service/
Located in small industrial estates, opposite railway stations, on busy high streets, in former office blocks and bingo halls, in 2011 there were said to be 240 African churches in the south London borough of Southwark, more than double the number of other types of churches in the area. Research by Roehampton University suggested that this represented the greatest concentration of African Christianity in the world outside of Africa. Sunday Service explored the reinvention of architectural space in the urban environment, cataloguing a rapid shift from industrial to religious space, in this pocket of South London. The series combined portraits of people who use and have repurposed the buildings, with photographs of the spaces themselves, which act like collaged records of a local history.
Congregation (2015)
Three-channel video installation, commissioned by Tate Modern, first shown in 2015 at Bosse & Baum, Copeland Park Industrial Estate, London. With sound by Coby Sey. Duration: 08:57 http://www.chloedewemathews.com/congregation/ Link here: https://vimeo.com/user104036403/review/367755130/998d6787d3 Password - Congregation
Congregation is a three-channel video installation exploring collective religious experience and the nature of expressive worship in south London's African churches. The nine-minute piece, featuring a number of Pentecostal churches in Peckham and Camberwell, combines intimate footage of personal reflection, with large-scale shots of communal ecstasy. In a departure from her practice at the time, Dewe Mathews used moving imagery and sound, rather than still photography, to respond to the dynamic and multi-layered church experience.
Dewe Mathews said: "I became increasingly interested in the range of spiritual experiences that people were going through on any given Sunday. It's the fascinating question of how personal experience becomes something else when in a group - a collective experience. How we all influence each other, affect each other and feed off each other. I'm intrigued by congregations as a whole, sometimes performative, other times contemplative but each week a slightly different collective character emerges and it's more than the sum of its parts.
Congregation was commissioned by Tate Modern and the first screening of the video installation was hosted by Bosse & Baum, a gallery based in an industrial estate on the site of a former church in Peckham. The video footage was projected directly onto the warehouse walls, referencing the building's history as well as the strong audio visual presence in many of the churches she was working in. The original soundtrack was created by Coby Sey, using recordings made during church services.