Calls & Opportunities

Pupa - Dolls
Call for submissions

contact; annett897@btinternet.com

Invitation;
L’atelier de Melusine
invites; artists in all media, scientists, writers, performers, musicians, programmers, coders, hackers, art critics, theorists, historians, academics and curators to apply to submit text-based works to ‘Pupa – Dolls’, 2019.
Works may relate, in the wider sense, to the concept of dolls, the trans-human, robots, avatars or humanoid forms and their ritual usage. The atelier invites you to respond to the statement below in the medium of the written word. The exhibition is part of the programme of postdisciplinary works, inquiry and dialogue which the gallery aims to platform and facilitate.

The works will form an exhibition in the gallery spaces, March – April 2019, and an element of the gallery blog; ‘Illud Nuntius:text message’, launching February 2019.
Image/s may be included within the piece, but text must remain the primary medium, it can be in any style, format and in any language but is limited to a maximum 22,000 characters.L

dolls_edited-2.jpg

‘Pupa -
Dolls’

Please write in response to the statement below, all text-based media accepted:

“Artificial Intelligence (AI) is now an established concept in the modern human and transhuman dialogical worlds. The general public are happy to use the term, although it seems to feed into a highly anthropomorphic paradigm, it has a desire to reflect or mirror human behaviour and physiognomy; ‘I am that I am’.
We do not consider many forms of AI, for example, systems and algorithms which monitor infrastructures in the home or wider society, such as those which control central heating from a distance, which control traffic systems or collect data and evolve ‘learning’ methodologies, such as Facebook.

The majority of people primarily interface with AI, in their ‘android’ phones, nourishing an ever-growing net of information, but they do not ‘think’ or ‘feel’ that this is potentially a separate or growing entity or a ‘living’ yet inorganic organism, much in the same way that they do not realise when they think that they are responding to another human in the web, that it is really a digital ‘bott’. It is essentially a mass of numbers and electrical systems. If it does not look like a human, or sound like a human then its’ ‘intelligence’ is often considered less than the users. There is a power imbalance, but this is not automatically deemed ‘less than’. The child’s doll or a man’s (stereotypically) living (sex) doll, may have an enormous import and position of emotional attachment/power that is recognised by immediate family and friends. Culturally, it seems different social and functional requirements are prioritised; however, the general thrust is for a living doll, an external simulacrum, a parody human, perhaps a slave, perhaps a master or lover. In virtual reality interactive experiences seem to be able to block out other somatic senses very effectively, so that the ‘player’ is ‘reality blind’, and can touch, see, hear and interact with anthropomorphised humanoid others. Yet this obsession with creating a humanoid with creating the ‘other’ is millennia old, the stories are as old as the biblical Adam (and his prototype Adam Kadamon) both sculpted or made from clay.

Subsequently the making of a ‘golem’ or magical humanoid creature has stayed with humanity across cultures, from Pinocchio and Coppelia; carved, wooden and mechanical humans who are brought to life by extreme emotional need and an external magical power, to ‘snott boy’, the tulpa’s of Mme. Blavatsky and David Lynch, doppelgangers who are effectively witches clones, whose function includes movement to fulfil a real-world, action task, and contemporary clones, and ‘engineered babies’. Additionally, they may be humanoid figures who are not required to demonstrate independent locomotion or oral/aural operations but cause effect on the psychological, intellectual and/or spiritual levels. Dolls of straw for fertility, clay figurines, stone carvings and votives, toy dolls, painted dolls in porcelain, of dead loved ones, dead babies, of pretend babies, which mewl, feed and shit. Plastic cadavers which deconstruct to teach medical students, toy robots, soldiers, barbies and kens, action man, sex dolls, life-like child dolls, animee, doll masks, dolly birds and sex robots. And in recto verso, humans who dress as dolls, models told to look like dolls; to look dead. All representations of the manipulation of human power and need.
Cartoons and sculptures of the graven image are taboo in several orthodox religions today, Islam and Judaism both forbid (in some orthodox sects) the making of human representations, but technology seems to evade the fringes even of these belief systems, whether the users are aware of this or not.

The image of man and woman in the plastic arts is considered both powerful and at times wicked. The doll is not a small child’s toy. Science and magical practice are once again linked in the psychological world, through the imagination and image. The resurgence of interest in magical practice is spreading in the, alongside the rise in religious belief in the developing world, conservative political elements within the powers such as Russia and the USA are harking back to older; more severe modes of Christianity, often polarising gender. In parallel are those who have rejected traditional religion are looking for other sacred practices, which might access them power in a world where they have been excluded from accessing power. These include wicca, western, ecological, hermetic traditions, voodoo, kemet, the norse and teutonic religions. The tendency for these groups to slip into gendered and extreme politics is also rising, especially amongst men’s or male centred groups which exclude others on the ground of ethnic background and gender. The truth and reality become fluid. What is enabling all these cults and clubs to thrive is the internet, this living creature which, can be conceived of as an elemental, a contrivance of chaos magic, moving from ethernet to aethernet whilst it becomes an enormous ritualistic golem or Kadamon in its own right. “

By Land mail; Atelier de Melusine, 4 Rue de Trupet, La Trimouille, 86290. France

Email; annett897@btinternet.com
Large files by www.wetransfer.com free option
                                                                                                                                           
Best Wishes and a Happy New Year
Sally Annett 2019

Submissions are welcome from all disciplines.

Terms and Conditions; 

Artists will be notified as to whether their work has been selected via email by 25 Feb. 2019

·       If you post the artwork by land mail and would like it to be returned, please enclose a self-addressed envelope. Please note; items over a weight of 2kg will not be returned.
·       If sent by email the Atelier will print off/render the piece on a paper/material of their choice and scale (unless this is specified by the artist/s, *advised).
·       The work will be curated as an installation over all 4 floors of the space, and the external areas.
·       Submissions will be in permitted in any language.
·       Collaborations and dialogues are welcomed.
·       Submission will close on 15 February 2019.
·       The atelier will create an e catalogue of the exhibition for electronic distribution to and by the contributors/exhibitors.
·       Submissions are welcome from all disciplines.
·       Submission is free.
·       Atelier de Melusine retains the right to publish and reproduce on line and in printed and promotional formats the works sent for exhibition.
·       If your work is for sale, please indicate whether it is a single original piece or an edition and indicate the price you wish to receive for the work.
·       The atelier currently holds insurance for public liability and damage to artworks * Limited to £30,000.00p

We look forward to receiving your submission.
Sally Annett. Atelier de Melusine. email: Annett897@btinernet.com


Francais

Pupa - Poupées

Appel à contribution

Invitation ;

L'atelier de Melusine invite les artistes de tous les médias, scientifiques, écrivains, interprètes, musiciens, programmeurs, programmeurs, codeurs, hackers, critiques d'art, théoriciens, historiens, universitaires et conservateurs à soumettre leur candidature et contributions pour 'Pupa - Dolls', 2019.

Les œuvres peuvent se rapporter, au sens large, au concept de poupées, au trans-humanisme, aux robots, aux avatars ou aux formes humanoïdes et à leur usage rituel. L'atelier vous invite à répondre à l'énoncé ci-dessous par écrit. L'exposition s'inscrit dans le programme de travaux postdisciplinaires, d'enquête et de dialogue pour la galerie se propose d’offrir une plateforme. Les œuvres feront l'objet d'une exposition dans les espaces de la galerie, de mars à avril 2019, et d'un élément du blog de la galerie ; 'Illud Nuntius:text message', lancé en février 2019. Les images peuvent être incluses dans la pièce, mais le texte doit rester le support principal, il peut être dans n'importe quel style, format et dans n'importe quelle langue mais est limité à un maximum de 22.000 caractères.

Pupa - Poupées
Merci de répondre par écrit à l'énoncé ci-dessous ; tous les médias textuels sont acceptés :

 « L'intelligence artificielle (IA) est maintenant un concept établi dans les mondes dialogiques humains et transhumains modernes. Le grand public est heureux d'utiliser ce terme, bien qu'il semble alimenter un paradigme hautement anthropomorphique. Il a le désir de refléter le comportement et la physionomie humaine : "Je suis ce que je suis".
Nous ne nous rendons pas compte de toutes les formes d'IA qui nous entourent, par exemple, les systèmes et algorithmes qui surveillent les infrastructures dans nos maisons ou dans notre société en général, comme ceux qui contrôlent le chauffage central à distance, qui contrôlent les systèmes de trafic internet ou collectent des données et développent des méthodologies "d'apprentissage", telles que sur les réseaux sociaux comme Facebook.
La majorité des gens interagissent principalement des IA, dans leurs téléphones 'androïdes', nourrissant un réseau d'information toujours plus large, mais ceux-ci ne 'pensent' ou 'sentent' pas—en cela qu’ils sont potentiellement des entités séparés, ou en croissance, ou des organismes 'vivants' mais inorganiques. De la même manière, nous ne réalisons pas qu’il s’agit bien souvent de bots quand nous pensons répondre à d’autres humains sur le web. Des bots—essentiellement des masses de nombres et systèmes électriques. Et si ces bots ne ressemblent pas à es humain, ou ne sonne pas comme tel, alors leur " intelligence " est souvent considérée comme inférieure à celle des utilisateurs. Il y a un déséquilibre de pouvoir, mais qui n'est pas automatiquement considéré comme "inférieur à". La poupée de l'enfant ou celle (sexuelle) d'un homme (stéréotypé) vivant peut avoir une énorme importance et une position d'attachement émotionnel/puissance qui est reconnue par sa famille immédiate et ses amis. Culturellement, il semble que différentes exigences sociales et fonctionnelles soient prioritaires ; cependant, l'idée générale est pour une poupée vivante, un simulacre externe, un humain parodique. Peut-être un esclave, peut-être un maître ou un amant. Dans la réalité virtuelle, les expériences interactives semblent pouvoir bloquer très efficacement d'autres sens somatiques, de sorte que le " joueur " est "coupé de la réalité" et peut toucher, voir, entendre et interagir d’autres humanoïdes anthropomorphisés. Pourtant, cette obsession de créer un humanoïde pour créer "l'autre" est vieille de plusieurs millénaires, les histoires sont aussi vieilles que l'Adam biblique (et son prototype Adam Kadamon), tous deux sculptés/faits d'argile.

Par la suite, la fabrication d'un "golem" (créature humanoïde magique) est restée avec l'humanité à travers les cultures, de Pinocchio et Coppelia. Allant des humains sculptés—en bois et mécaniques et rendus vivants par un besoin émotionnel extrême et un pouvoir magique externe—aux " snott boy ", aux tulpa de Mme Blavatsky et à David Lynch,—des doubles qui sont en réalité des clones sorciers, dont le but est de faire avancer le monde et effectuer les tâches difficicles—ainsi qu’aux clones modernes et aux bébés "conçus génétiquement". Il peut également s'agir de figures humanoïdes qui ne sont pas tenues de démontrer une locomotion indépendante ou des opérations orales/auditives, mais qui ont un effet de cause sur les plans psychologique, intellectuel et/ou spirituel. Poupées de paille pour la fertilité, figurines d'argile, sculptures en pierre et votives, poupées jouets, poupées peintes en porcelaine, d'êtres chers morts, bébés morts et faux bébés qui pleurent, se nourrissent et chient. Cadavres en plastique qui se déconstruisent pour enseigner aux étudiants en médecine, robots jouets, soldats, barbies et kens, hommes d'action, poupées et robots sexuelles, poupées enfantines, animaux, masques, oiseaux. Et in vice versa, des humains qui s'habillent comme des poupées ou des mannequins à qui on dit de ressembler à des poupées, cadavériques. Toutes les représentations de la manipulation du pouvoir et du besoin humain.
Les caricatures et les sculptures de l'image gravée sont aujourd'hui taboues dans plusieurs religions orthodoxes, l'islam et le judaïsme interdisent (dans certaines sectes orthodoxes) la représentation humaine, mais la technologie semble échapper aux limites même de ces systèmes de croyances, que les utilisateurs le sachent ou non.
L'image de l'être humain dans les arts plastiques est considérée à la fois comme puissante et parfois cruelle. La poupée n'est pas un jouet d'enfant. La science et la pratique magique sont à nouveau liées dans le monde psychologique, à travers l'imagination et l'image. Le regain d'intérêt pour la pratique de la magie se répand dans le monde en développement, en parallèle à la montée des croyances religieuses. Des éléments politiques conservateurs au sein de puissances telles que la Russie et les Etats-Unis reviennent à des modes de christianisme plus anciens et plus sévères qui polarisent le genre. Parallèlement, ceux qui ont rejeté la religion traditionnelle recherchent d'autres pratiques sacrées, qui pourraient leur donner accès au pouvoir dans un monde où ils ont été exclus du pouvoir. Il s'agit notamment des traditions wicca, occidentales, écologiques, hermétiques, vaudou, kemet, nordiques et teutoniques. La tendance de ces groupes à se glisser dans la politique sexospécifique et extrême est également en hausse, en particulier parmi les hommes ou les groupes centrés sur les hommes qui excluent les autres sur la base de l'origine ethnique et du genre. La vérité et la réalité deviennent fluides. Ce qui permet à tous ces cultes et clubs de prospérer, c'est internet, cette créature vivante qui peut être conçue comme une artifice de magie du chaos, passant de l'Ethernet à l'aéthernet alors qu'elle devient un énorme golem ritualiste ou Kadamon à part entière. »

Par voie postale : Atelier de Melusine, 4 rue de Trupet, 86290 La Trimouille, FranceCourriel : annett897@btinternet.com
Fichiers volumineux par www.wetransfer.com optiongratuite                                                                                                                                      Meilleurs voeux et bonne année

Les contributions de toutes les disciplines sont les bienvenues.

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Residency Programme 2018/19

'Addressing the Media'

The first residency at Atelier de Melusine will take place in September 2019.                                                                                                                                                                                                                                  Five artists will be invited to come and work in the Atelier for one week, applications will be welcomed in all media.

Premise                                                                                                      World power and world-making authority is influenced and regulated by the ‘Media’, this is not a post-modern change, rather post-modernity has evolved as a creature of ‘tendency’ to exist within a media dominated consumer culture. The media owns the imagination, its truth is often temporary and lacks verity. As artists how can we begin to counter the media? We use many media and technology, across the political spectrum. Addressing the media is an invitation to convene to create work which effectively uses and challenges the mainstream media on issues such as gender, cultural borders, environment, language, science and technology.

Submissions
An open call to artists working in all media.

When
Monday 9th September 2019 - Sunday 15th September 2019

Where
Atelier de Melusine. La Trimouille. 86290. France
www.atelierdemelusine.com

Procedure
Artists to submit work either via email, dropbox or equivalent link to
annett897@btinternet.com
Images or media files, CV, web presence and proposal for the project.
On application you will recieve the full brief and concept.

Deadline August 1st 2019

Outputs
5 days intensive work, discussion, field trips, with a group show and formal discussion on the final two days.  Artists will be provided with internal and external  live/work spaces and co-curate the final exhibition with Annett.

Accommodation
Atelier de Melusine has several live/work spaces, a print room and grounds for residents to work and stay, accommodation is simple and requires mobility for steps and stairs. Two of the spaces are for multiple occupants so please specify is you require single, separate accommodation. Please do not confuse us for a gite! We are a working space. We are also a historic space. Built into the side of the old ‘Chateau de la Tremouille’ which was abandoned in 1040 ad, the atelier has a crypt currently under excavation and restoration, as well as a hidden cave which leads to a series of underground tunnels that remain sealed at this point. The half-acre gardens are also hidden, high above the roofs of the other houses, and are a large section of the old castle mound. It is a fascinating space, all year round.

Cost
Renovation and restoration of Atelier de Melusine is still continuing as we try to preserve previously hidden historic spaces. Because the space is not yet fully completed, we will not be charging a course fee. Instead, artists will be asked to contribute a donation towards the overheads and running costs of the space, exhibition and source and pay for their own transport to the residency and their working materials. 

Meals
Simple vegetarian breakfasts, lunches and suppers will be provided, however the Atelier is in the little town of La Trimouille which has a shop just around the corner, as well as a little tabac, post office, Doctor’s and a very sweet, very tiny cinema. Despite this, we are in the heart of the beautiful French countryside, on the very edge of the River Benaize which borders the Brenne National park, it is possible to walk out of town into rolling countryside. 

Insurance and liability
We ask that you take out your own travel insurance for the residency and will ask you to sign a document of personal responsibility/liablity on arrival.

Travel and Transport                                                                             
The nearest airports are Poitiers and Limoges.
By train, the TGV (strike dependent) also arrives at Poitiers and Limoges.

Local connections are then from Limoges or Poitiers train station to Montmorillon.
We will collect you by car from Montmorillon.

If you are driving there is plenty of free parking in the town.

 Alternative accommodation – camping, gites, chambre d’ hotes and bed and breakfast options are also available in La Trimouille in high season.

We look forward to receiving applications.