Open Call

The Middlesbrough Art Weekender team are now accepting applications for this years Open Call.

open call closes on 9th September.

Application Overview

Middlesbrough Art Weekender 2018 are looking for artists based in the Northeast or who have a connection to the area. This year with our theme being connectivity we want to connect the works with the Middlesbrough Collection.

As part of MAW2018 we have developed a collection show with the Middlesbrough Institute of Modern Art and we want you to think about your practice in relation to the works selected (See: here). The aim of this open call and ultimate show is to consider how your practice refers to or can relate to the selected collection show and the festival theme of connectivity.

The selected artists will have their work displayed across the town of Middlesbrough as part of MAW18.

Submission Outline: This call out is for artists and performers working across all mediums and working in or from the Northeast. Applicants should note that requirements for install, if extensive, will be the responsibility of the artist. Work needs to be delivered to our main venue by the 1st October 2018. Artist will be notified of main venue if selected.

What to submit:  For 3D & 2D, up to 3 still images. For video and sound please provide links. All work to be accompanied by a description of the work, how the work responds to the selected work from the Middlesbrough collection (see below) alongside a brief bio & C.V.

Financial details/payment:  There are three cash prizes (£500 / £300 / £200) selected by an independent jury including Helen Welford (Curator, MIMA)

Deadline for applications: September 9th. Successful applicants will be informed by no later than the 21st September. There is no application fee.

How to apply: All applications to be made via email to info@middlesbroughartweekender.com

Brígida Baltar

Mist Collecting #1 1988

Chromogenic print

Presented by the Art Fund under Art Fund International

Mist Collecting # 01 is on show as part of the Middlesbrough Collection. The image link takes you to an example of the work collected by MIMA with support from Art Fund.
It is one of a series of works produced by Baltar in the late 90s. The work explores the physical relationship with place and the ecology that is presented in different moments of nature. The work is connected to a full immersion of nature and the sensory experience of the world around us. (currently on display second-floor gallery)

Caroline Broadhead

Tufted Bracelet, 1980

Wood and nylon

Broadhead’s work in the late 70s considered how wearable artworks could be performed by the user. The works force the individual to push their wrist through tufts of Nylon.

These tufted works were influenced from her travels across Africa, and the connections between what is worn and the links those objects have to both the culture and history of place. It is considering the interactivity of the body with an art object.
(Available on request, and to be displayed from 1st October in MIMA ground floor cube gallery, the first gallery that you enter from the atrium).

Ian MacDonald

Mike ‘Moby’ Swales Lazenby, 1976

Photograph (B&W)

The images collect and document a once thriving community on the Greatham Creek, just beyond Middlesbrough. The work captures those who lived and worked the area and gives a clear reality to what was present in the region.

This work has been selected to demonstrate a connection between the historical narrative of the Tees Valley and to draw parallels with ideas of change and loss. It is considered that industry is about society and McDonald’s work is a documentation of the identity of those who are present in those communities.

(Available on request, and to be displayed from 1st October on MIMA second-floor landing).

Eduardo Luigi Paolozzi

Who’s afraid of Sugar Pink and Lime Green? 1971

Graphite and coloured pencil on paper

Sir Eduardo Luigi Paolozzi (7 March 1924 – 22 April 2005) was a Scottish sculptor and artist. Paolozzi is known for his large sculptural works and prints.

The work interweaves an aesthetics that has concerns with mass culture, advertising and new tech and colliding it with irony and geometric pattern. What can be seen in his work is a sense of play and novelty alongside questions that hold integrity to the politics of its time.

This can possibly seen in the name of the work “Who’s afraid of sugar pink and lime green” and could be a connection to his childhood as the son of Italian ice cream sellers in Leith, Edinburgh, in the 1920s-30s.

(Available on request, and to be displayed from 1st October outside the MIMA education space)

Paul Chan

Untitled 2007

Set of 7, Charcoal and collage on paper

Presented by the Art Fund under Art Fund International

This is a set of seven notational pieces. It is black paper mounted onto blank sheet music. The scores bring out gaps and voids, possible negative spaces and the possibility of a sound that is brash and unforgiving.

The notations connect across how sound can be seen and represented as well as possible questions on what could be heard.

(Available to see on request, and to be displayed from the 1st October in 2nd floor gallery)

Sigurd Bronger

Wearable Instrument 1998

Natural sponge, gold plated brass, stainless steel

Purchased through the Northern Rock Foundation Craft Acquisition Scheme

 This work is connected to a concept behind Bronger’s work that is to consider Jewellery as theatre. ‘My jewellery is not meant to be decoration’, explains Bronger to Norwegian crafts.

‘This decorative stuff many people equate with jewellery causes me to sometimes say I hate jewellery.’

(Available on request, to be displayed from 1st October in ground floor cube gallery, the first gallery that you enter from the atrium).

Teresa Margolles

Papeles de la Morgue (#9) 2003

Water from autopsies on paper

Presented by the Contemporary Art Society, 2014

 The work is capturing the water that has been used to wash human bodies following autopsy. The paper has been pulled through the liquid that holds traces of the individual from hair to fluids.

This produces a portrait of the physical matter that makes up the body of the dead. The work connects to what is left following decay or an ending, it draws lines of existence and loss in its most physical and abstract form.

(On display, ground floor gallery ‘History Repeats Itself’ show)

Deadline for Applications are the close of business 3rd September 2018.

 

Email your submissions at info@middlesbroughartweekender.com