Open Call

Artist cocktails, 'Loving Attention', 19 May 2019

Half of our monthly Projections events are selected from open calls. Every six months, the open call asks for proposals from curators and artists to present new moving image programmes or create live work for the cinema space. 

Open Call selection: Spring 2019

The projects selected from Open Call 3, which closed on 28 February 2019, are

Josh Wilson: 75,000 Solar Emblems
Film Bee: Visions of Collisions
Bryony Gillard: Harmonic Anatomies / wet mouths

75,000 Solar Emblems is in our Spring 2019 programme on 2 May, while Visions of Collisions and Harmonic Anatomies / wet mouths will feature in Summer 2019 (dates tbc).

What we're looking for

Live events

We’re looking for proposals to create new performance or live events that respond to the context of the cinema in its broadest sense. Proposals might experiment with the potential of the cinema space for hosting live work by using the apparatus of screen and/or sound system, intervening in the conventional operation of a cinema screening, responding to or disrupting the dynamic of a cinema-going audience – and events may not contain any screen-based element at all. Most of all we’re interested in how artists respond to the particular cultural, social and physical space of the cinema auditorium, or the wider building and its operations.

Curatorial proposals

We invite applications from curators interested in curating and presenting an original programme as part of the Projections series. We are seeking proposals that investigate particular contemporary currents or concerns which might be articulated by artists’ moving image practice. Given the context of the series, the ability to respond meaningfully to the site of the cinema – the specific experience of viewing artists’ moving image in the cinema space – is important.

Applications

Our fourth open call will open for applications on 1 June 2019, with a deadline of 31 July 2019.

To apply, please read the guidelines below, and then apply via the online form (available once the call is open). If you have any questions, or would like to talk about your proposal, please contact Tess Denman-Cleaver.

There are two opportunities: one for curatorial proposals, and the other for new performance work. We are keen not to maintain a strict division between the two areas of opportunity, though, and to reflect the porosity of artists’ practice – so curatorial proposals which include performative or extra-cinema elements, and performance proposals which include the screening of existing work are both welcome too.

This call is open to both UK-based and international curators and artists. While the application form asks for details of your previous projects, your idea is most important, and we are keen to hear from early-career artists and curators as much as those with significant experience.

Only original ideas which have not been presented before are eligible. We will select three proposals from each call. We’re happy to give feedback on unsuccessful applications where possible.

Selected projects will be exhibited between October 2019 and March 2020. We will work with you to find a suitable date. Selected projects will be publicised in our regular season leaflet; on the Projections and Tyneside Cinema websites; via social media; and local and national press channels.

For projects that involve screening moving image, we can accommodate the following formats:

16mm & 35mm film

Digital files of suitable quality for cinema projection

DCP

Other formats (Super 8, etc) may be possible, but via negotiation.

We’re looking for proposals to create new live work which responds to the space, or site of the cinema, in a broad sense. Proposals can harness the apparatus of screen and/or sound system, intervene in the conventional operation of the space, or not contain any screen-based element at all: we’re most interested in how artists respond to the particular space of the cinema, and this might also be manifested in the architectonics of the auditorium, or even the wider building and its operations.

What does it mean to make live work for the cinema? It is a deliberate space, purpose-designed, the product of an architectural evolution with the sole aim of creating the best possible environment for the presentation and reception of the moving image—for perfecting an illusion of perspective and movement. When it comes to thinking about how it might accommodate different forms, this makes it uncompromising and awkward – but this limitation is a source of potential, too.

When thinking about what a live event in the cinema might be, we’re interested in proposals which think about ideas around liveness, about the cinema as space of assembly and congregation—and which might look to the future of cinema in some way. What is specific to the site of the cinema which sets it apart from the gallery, the theatre, the studio space? What might an artists’ cinema look like?

Presentation

As a guide, proposals should be for events of up to 60 minutes long, but we will consider all applications on their own merit.

Fees

Artists will be expected to provide a short text and images in support of their project; and lead and/or participate in the event itself. We can offer a fee of £500 for the development and presentation of each new performance work. We’ll help with the cost of any extra technical requirements beyond the normal scope of the cinema, too.

We invite applications from curators who would be interested in curating and presenting an original programme as part of the Projections series. We are seeking proposals which investigate particular contemporary currents or concerns which might be articulated by artists’ moving image practice. Given the context of the series, the ability to respond meaningfully to the site of the cinema – the specific experience of viewing artists’ moving image in the cinema space – is important.

While we’d like to know about any relevant projects you’ve worked on in the past, we’re most interested in the strength of your idea, so lack of experience as a curator is not necessarily a problem. We’re particularly keen to hear from artists as curators, too.

Duration

As a guide, screening programmes should be between 60 – 80 minutes long and available to screen on the formats listed above, but we will consider all applications on their own merit.

Fees

Curators will be expected to write an introduction to the programme for reproduction online and in print at the event; source films; present the programme in person; and participate the event itself—whether a post-screening Q&A or another, expanded activity. In return, we can cover reasonable film hire fees up to a maximum of £200, and offer a curator’s fee of £500.

Previous open call events