In the framework of the Festival of digital cultures, Transnumeriques (an event of Mons2015, European Capital of Culture), Transcultures, Media and Sound Arts Centre, launches 3 calls for proposals to participate to the 2015 edition of its Transnumeriques Awards – Art(s) and Network(s).
For this edition, Transcultures will focus its awards on the GIF and its animated images, (usually in a loop). Back to the earlier Web, the GIFs were very simple. In a late 2000s, a new generation of artists has emerged and promoted GIFs as a work of art in itself. Lately, GIF works have bee part of multiple online exhibitions, but also, exhibitions in contemporary art galleries. Transcultures is especially interested by the relation the art of GIF generates as meeting points of a certain culture which it became, if not the emblem, in any case the exercise of style…
Four partners, three deadlines for minimum 3 exhibitions in 2015.
@ Festival Videoformes
Gifs Awards Event
deadline : 07/03/2015
exhibition 19 > 21/03/2015
@ ARTour Biennale, Contemporary art and patrimony
Homo Faber Gifs exhibition
deadline : 01/04/2015
exhibition 26/6 > 30/08/2015
@ Les Transnumériques in the framework of Digital Art Festival Taipei & Mons2015
Emergences numériques/Digital Emergences + Café Europa
exhibition 13/11 >12/12/2015
The Transnumériques Awards 2015 will especially focussed on the “GIF” format (animated). The artworks will therefore only use this format. No registration fee is required.
For all artworks received for each call, an international jury will select a maximum of 5 awarded works by exhibition. Other works will also be selected to be exhibited along with the laureates. All works submitted will be online, on a special page of the spamm.be Website.
Any additional information and conditions are detailed in the regulations (below).
3 separate works maximum per participant per exhibition.
If required and valid for the project, a work may take the form of a series of GIFs (single file) presented together (diptych, triptych …), but each file should be send separately (not all together in an html page for example).
The artwork must be a unique GIF file (Graphics Interchange Format) or, in the case of a “series” a unique set of files.
The submitted artwork may be a new creation, an adaptation or a new version of an earlier work.
For the ARTour event, the artworks will be inspired by the theme of the Biennale: Homo Faber.
For the festivals Videoformes and Transnumériques (Mons2015), no particular theme, but will be preferred artworks which take a critical regard at our societies; question our relationships with others, the media, the information society, the news …; question the notions of Net Art, creativity on/of the Web … or provide a particularly poetic look or another artistic singularity…
Good resolution (the GIFs art works will be projected on large screen)
For projects with a series of works, precise presentation plan is required.
The winners will receive 300 euros per work / project.
There is no budget for travelling or welcoming participants.
A series of works selected by the jury will also be an exhibition in the various events above mentioned.
All selected artists will benefit from visibility and communication / marketing via different networks and media associated with Transcultures and its partners.
The selected artists will be notified by email in the days following the deadline.
All entries that meet the selection criteria will be displayed (with the prior consent of the artist) on spamm.be platform, even if they are not winning.
- First read carefully the contest rules.
- You can download the call and rules in pdf format
- Fill in all required fields on the online form. Upload all requested files.
- For additional information, please send an email to Jacques Urbanska (firstname.lastname@example.org – subject: Transnumériques Awards 2015 submission).
- A Brief History of Animated GIF Art, Part One
- The Doctrine of the Similar (GIF GIF GIF)
- Le GIF animé : de la kitscherie à l’œuvre d’art (le Monde)
- Gif : Le MIT étudie les émotions et le langage des gifs animés
- L’ascension du GIF animé jusqu’au sommet journalistique
- Moving the still : le gif a son festival à Miami
- Avec le GIF, l’art se répète mais ne se ressemble pas
- Kim Asendorf, pour l’amour du gif
- A Gif WebWatch by arts-numeriques.info
1. The response to this call can only be made by filling the form online at: http://transcultures.be/database (password: Transcultures.be). In responding to this call, the participant declares to have read and agrees with all points of this Regulation.
2.1. The Transnumeriques Awards 2015 are specifically dedicated to the “Gif” format.
2.2. The call for Transnumeriques Awards 2015 includes three possible submissions related to minimum 3 events/exhibitions separate during the year:
2.2.1. The festival Vidéoformes
the deadline 01/03/2015
exhibition between 19> 03/21/2015
2.2.2. ARTour Biennial Contemporary Art and Heritage – Homo Faber
exhibition between 26-6 and 30-08-2015
2.2.3. The Transnumériques under Mons 2015
the deadline 01/10/2015
exhibition between 27/10 and 12/12/2015
2.3. Additional exhibitions may occur in the course of 2015 if there are opportunities. The artists involved will be contacted by mail for approval.
3.1. No registration fee and no geographical restriction
3.2. Any adults can answer the call
3.3. Participation can come from a single person or group
3.4. To submit his work, the designer can use his real name or artist name.
3.5. A maximum of two works by submission (deadline).
3.6. Each participant (one person or one person in a group) can apply only once per call. The participant can apply to several calls, but the same work can be presented only one of the three calls.
3.7. If an artist (1 person or 1 group) with several well-established pseudonyms has sets of clearly identified creations, he can apply once a call in each of his pseudonyms.
4.1. The participant certifies the paternity and the rights of the works he submits.
4.2. 1 file in GIF equals to 1 artwork. Maximum 3 works by submission.
4.3. Several separate files in GIF format are accepted if the creator considers they are part of a single work (multiptyque)
4.4. For the call to ARTour project, only works dealing with the theme “Homo Faber” , for the jury, can be winners and / or exposed (a short text explaining the approach can be attached to the work). No theme is imposed for other calls.
4.5. To simplify the implementation of the exhibition, works must be distributed on different screen sizes. A specific distribution defined by the creator is possible if it is justified.
4.6. There is no maximum size to the work, but the projection will depend on the exhibition reception areas.
5.1. Exhibitions will take place in the context and with the means put at disposal by hosting events.
5.2. According to the various locations, works will be broadcasted by video projector or TV monitor.
5.3. The final Transnumériques exhibition will have all the winners again and a selection of works received during the various calls.
5.4. An online website will take over all the works received in order of their receptions.
5.5. Additional expositions may be added as part of Mons2015 European Capital of Culture.
6. Selection and jury
6.1. The jury will consist of a panel of actors from contemporary arts scene, visual and digital art, net art … They will be overseen by the team of Transcultures. Their names and positions will be publicly available on the websites of the organizers and partners.
6.2. Selection will be chosen by majority vote in one or more rounds. The jury members will have access to all works and will make their choice individually via an online form. Each work will be graded from 1 to 10. The Transcultures team will have to decide between potential wroks placed equal and give a definitive opinion after the introduction of each exhibition.
6.3. As for previous years, the jury will also propose the participation of a work or an artist who did not answer the call.
6.4. There will be between 3 and 5 winners by call + selected works deemed worthwhile and to be exhibited alongside the winners.
6.5. The artists whose works will be selected will be notified by email a few days before the exhibition openings and a statement will be visible on the website (s) (s) Transcultures.
6.6. The final decisions of the jury are irrevocably.
7.1. The winners will receive an amount of 300 euros for each selected works
7.2. An agreement will be signed between the winner and Transcultures.
7.3. Payment will be made only via bank transfer upon reception of a supporting document (invoice).
8.1. All selected artists will receive a communication through various media and networks associated with Transcultures and partners.
8.2. All participants will benefit from an online presence via Transcultures sites.
9. rights and broadcast
9.1. The authors assign their rights during and within the strict framework of Transnumériques Awards 2015 Project.
9.2. Slected works (or part of works) may be used in a promotional framework for the event and the overall project, in any form of media: catalog, program, invitation, print, Internet and television.
9.3. Every work selected will be the subject of presentations at events in Belgium, France or abroad, for which the author, or the beneficiary, will be consulted and will give his consent.
9.4. Any winning work will integrate the Digital Archive of Transcultures and may be communicated in connection with the Transnumériques Awards in a promotional purpose only.
9.5. Any other type of transmission shall be subject to prior agreement with the artist.
10.1. Authorship generally imposes obvious (previous works, techniques etc.). However, if the jury has a doubt about the authorship of a work, the participant may be asked for some additional information to ensure that he is the very author of the work he has submitted.
10.2. A participant may at any time decide to withdraw from the project without having to justify it. The participant will just have to send an email to Transcultures team in order to withdraw his work from the competition or exhibition.
10.3. The winners agree on being quoted in any communication of the work that it was the winner (or selected by winners) of Transnumériques Awards 2015, with a link to the address transcultures.be/awards.
Who's Who ? Les partenaires
Depuis sa création en 1984, Vidéoformes se définit comme un observatoire permanent des évolutions de la vidéo et des cultures numériques dans l’art contemporain : un espace de présentation, de rencontre et de réflexion pour les artistes, les professionnels et les publics.
Since 1984, Videoformes is a permanent observatory of the evolutions of video & digital arts : a place for presentation and meetings for artists, professionals and audience.
Since 1986, Videoformes annually has been organizing an international video and digital art festival. This event highlights the quality of the works and artists presented in the festival through exhibitions, lectures, screenings, performances, debates and meetings.
Since 1993 Videoformes has been running an alternative gallery (Galerie de l’art du temps/Chapelle de l’Oratoire), and a quarterly magazine about contemporary art and new technologies (Turbulences Vidéo).
In 2003, Videoformes initiates a policy of artists in residency.
Videoformes is now engaged in the development of Digital Video Archives, one of the most important video and electronic art collection that has been put together in over twenty years.
La Biennale ARTour – art contemporain et patrimoine se déroule à La Louvière et dans la région du Centre (Belgique, Hainaut). Musées, sites, édifices remarquables ou espaces publics accueillent un ensemble d’expositions et d’installations qui offre également au public la possibilité de découvrir la diversité des paysages, des monuments, de l’architecture de la région. An initiative of the Centre culturel régional du Centre.
The theme for the tenth edition addresses the contemporary relationship to work, its impact on our society and on the individuals, an option inspired by the exhibition “Homo Faber. Poetic and mechanical work” proposed by the Living Museum of the Bois-Du-Luc in the framework of Mons 2015, European Capital of Culture.
In addition to the representations of the working class who have crossed the industrial era, exhibitions and original creations offer various interpretations of ‘Homo Faber’ generic theme through different mediums: installation, picture, sculpture, net art; artists have a critical, cynical or humorous about the world of work today.
To the body abused by the fury of the machines are now substituted wounded minds through incessant clicking of keyboards, series of productive meetings (or not), a frenzy of work that reflects a heightened motivation for profit and appearances, material for the designer who is in another time. The dictatorship of the market and the modes of alienation arising are highlighted by the artists. If it’s true that all work is noble, there is some derisory and absurd which are well illustrated by a sharp pen.
Another subject of this ARTour edition will be the obsolescence of the machine, to which a new status is given; the hi-jacking of daily objects; of a particularly close relationship to the land and its history with references to the mining world, the charcoal work which transcends this raw material; the evocation of the figure of St. Barbe; the relationship between art and the work is illustrated by the development of knowledge at work…
Catalogue de l’édition 2013
Transcultures is happy to launch this year a new partnership with the Digital Art Festival Taipei, Center and Foundation in Taipei, which hosts a selection of sound and digital artists from the Taiwanese digital art festival at the House of Design.
In November 2015, sound and digital artists from the Federation Wallonie-Bruxelles proposed by Transcultures, will be hosted at City Sonic Festival, which like the Digital Art Center of Taipei, is a member of RAN (Digital Arts Network).
Digital Art Center, Taipei is based upon the objectives of “R&D, experimentation, creation and incubation”. The intention is to accumulate energy in digital arts, and attain the core value of transcending short term profits; because we hope the various representative organizations that have demonstrated great potential will focus on the long term ideals and show the real meaning of collective involvement. In doing so, we hope to generate the most substantial and most abundant reward, thus making Taipei Digital Art Center the base for the development of the emerging digital contents industry and culture.
As of 2009, it will be operated by the Digital Art Foundation, which comprises veteran organizations that have a wealth of experience in the fields of digital or techno art; these include experts from academic institutions, industry, art museum management and creative art etc. With high expectations, the intention is to harness cross-industry, cross-platform and cross-regional cooperation, by planning and execution of a series of R&D, demonstration and performance exhibition projects, thereby realizing the concept of fusion between digital technologies and arts. Through core values that transcend short-term profit, the Digital Art Center hopes that representative organizations from the various fields will focus on long-term ideals, thereby demonstrating the positive meaning of joint collaboration, and generating the most substantial and abundant reward.
With 300 major events and thousands of cultural and artistic activities, Mons 2015 is getting ready to span 17 partner cities from Lille to Ghent. But the European Capital of Culture has a more ambitious strategy of development and regeneration not only for Mons but the entire region. Becoming a ‘Creative Valley’ in a world turned upside down by new technology is all about moving with the times and acquiring an impetus that will carry thousands of visitors along.
We can see it in the construction projects progressing all over the city, which are not just intended to improve appearances. The new Conference Centre, as majestic as a ship’s hull ploughing the waves, will be linked via a new train station in the form of a walkway to the old city over the other side of the tracks. Another current project of the two architects at work, Daniel Libeskind and Santiago Calatrava, is none other than the reconstruction of Ground Zero in New York.
Their reputations and their work signify a single aim: to open up the imagination, and present a world of possibilities for an entire generation of young entrepreneurs who are investing in the growth of a new creative economy within the region, in a similar vein to Google, Microsoft and IBM. Among this huge ongoing construction programme (without even mentioning the new Ikea!), we have the five new museums that Mons will have to showcase its art collections, its cultural heritage tourism and its three gems that are registered with UNESCO World Heritage: the Neolithic Flint Mines of Spiennes, Europe’s only baroque belfry and the compelling ‘Doudou’ festival.
And so this future creative city is embedded within an equally ambitious artistic vision that relies on the iconic figures who have shaped the collective unconscious of Mons – from Van Gogh to Verlaine, whose art underwent significant development right here in Mons – and on the creative minds celebrated at major festivals, from Joël Pommerat to Guy Cassiers, not to mention the fashionable ‘supporting artists’, such as the designer Jean-Paul Lespagnard and Marc Pinilla from the group Suarez.
Initiated by Transcultures (with the support of the Federation Wallonia Brussels) in autumn 2005 between Mons and Brussels, Transnumériques are at the intersection of contemporary artistic practices and creative use of digital technologies, it is also crossing the attendant challenges in creating and training the digital arts.
During the last editions of the festival, Transnumériques traveled between Brussels, Mons, Liège, Maubeuge, Lille and Paris, by opening up more widely through its programming, a dynamic transatlantic exchanges with operators including Quebec.
Uniting as the experimental stages, performative, while pointing festive historical reminders, this rhizomatic device illustrates the multifaceted nature of electronic culture is constantly changing.
Launched by Transcultures on the occasion of La Quinzaine Numérique of the Federation Wallonia-Brussels, The Transnumériques Awards intend to stimulate digital creativity by giving it a larger visibility. Further to the call for proposals, different prizes – performance, installation, young artists… – rewarding net art projects, from Belgium and abroad.
The 2014 edition was focused to artworks created to be broadcasted via the Web and displayed on a screen (interactive Web installations, gifs/glitches, Neen Art, memes, web platforms, Web curators…).
Associated with this awards, a didactic Net Art exhibition based on spamm.be, an online platform which presents a series of works showing the international diversity of today connected/media art, with also a selection of critical tools. spamm.be was launched in 2013 by Transcultures , in collaboration with the artists Jacques Urbanska (arts-numeriques.info plateform) and Systaime (Super Modern Art Museum – spamm.fr).
Transnumériques Awards 2013 – Focus « No screen – physical Performances & Installation »
(in the framework of Transnomades and La Quinzaine Numérique of the Wallonia-Brussels Federation).
The Awarded was :
- Anne Roquigny & James Hudson,WJ-S project (software, collaborative online performance, Webjing…)
- The Le Clair/Obscur Cie for its connected performance @.2 :SleepingBeauty (Frédéric Deslias et Gaël L.)
- The connected performances of Peter Friess et Cie Okus for young émergences.
Transnumériques Awards 2014 – Focus “connected installations” – art works to be broadcasted on the web and to be screened.
In the framework of festival VIA / Mons 2015
The Awarded was :