International Studio Program

SOLIDARITY - NOW MORE THAN EVER

Please apply now for the 24th International Studio Program. The call for entries ends on October 29th, 2017.

The online application can be found HERE

Contact:

Ann-Kathrin Rudorf
Manager of the Program

Mobile:
+49 (0) 171 - 6848347

Email

Downloads / Dateien

Atelierprogramme

Internationales Atelierprogramm – International Studio Program

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Internationales Atelierprogramm

Die ACC Galerie Weimar und die Stadt Weimar geben das Thema des 24. Internationalen Atelierprogramms bekannt: Solidarität - Jetzt erst recht. Künstler*Innen aus aller Welt können sich ab sofort bewerben, um für vier Monate in Weimar zu leben und zu arbeiten. Die Stipendien beginnen im Februar, Juni und Oktober 2018. Eine Jury von KunstexpertInnen tagt im November und wählt drei StipendiatInnen aus. Bitte senden Sie uns Ihre ONLINEBEWERBUNG bis Sonntag, 29. Oktober 2017.

Das „Internationale Atelierprogramm der ACC Galerie und der Stadt Weimar“ wurde 1994 ins Leben gerufen. Die Stadt Weimar als Mitinitiatorin und Partnerin des Internationalen Atelierprogramms verfolgt das Ziel, Künstlerförderung und Präsentation zeitgenössischer Kunst im Stadtraum miteinander zu verknüpfen, als Treffpunkt und Forum für Künstler zu wirken und internationale Beachtung zu finden. So sollen der internationale Kulturaustausch gefördert und Vorurteile abgebaut werden. Die Stadt Weimar unterstützt das Programm, indem sie u.a. ein Atelier mit angeschlossenem Appartement im Städtischen Atelierhaus Weimar – einem der ältesten Gebäude dieser Art in Deutschland – zur Verfügung stellt und ¾ des jeweiligen Monatsstipendiums von 1.000 Euro finanziert. Mittel für das restliche Viertel wirbt die ACC Galerie Weimar ein, die das weltweit wirkende Bewerbungsprocedere organisiert, die unabhängige Jury einberuft und die Künstler ganzjährig betreut.

Bisherige Jahresthemen: „Allegorien“ (1995), „Fascis – Faschismus und Faszination“ (1996), „Kopf an Kopf – Head to Head – Tête à Tête“ (1997), „Gemeinschaft – Gesellschaft“ (1998), „Hautnah“ (1999), „Herzblut – Schriftbild“ (2000), „Das Maß der Dinge“ (2001), „über MENSCHEN – Zur Zukunft des Humanen“ (2002), „herkunft niemandsland“ (2003), „Die Ironie ist tot. Es lebe die Ironie!“ (2004), „Die Kultur der Angst“ (2005), „Die Subversion des Stillstands“ (2006), „AUSSEN VOR“ (2007), „Von der Unbestimmtheit“ (2008), „Kunstfehler – Fehlerkunst“ (2009), „Jenseits der Sehnsucht“ (2010), „Über den Dilettantismus“ (2011) und „What Happened to God?“ (2012) und „Mit krimineller Energie – Kunst und Verbrechen im 21. Jahrhundert“ (2013), "The Politics and Pleasures of Food" (2014), "Does Humor Belong in Art?" (2015), "Die Kunst der Simulation" (2016), "Romanze mit der Revolution" (2017). Die bisherigen 69 Teilnehmer des Programms kamen aus: Argentinien, Australien, Belgien, China, Deutschland, Finnland, Griechenland, Großbritannien, Guatemala, Irak, Iran, Irland, Israel, Italien, Japan, Kanada, Kolumbien, Kroatien, Kuba, Mazedonien, den Niederlanden, Norwegen, Pakistan, Peru, Portugal, Russland, Schweden, der Schweiz, Serbien, Simbabwe, Slowenien, Spanien, der Türkei, Uruguay und den USA.

Stimmen ehemaliger Stipendiaten

[deutsche Version anzeigen]

International Studio Programm

The ACC Galerie Weimar and the City of Weimar are happy to announce the theme for the 24th International Studio Program: “Solidary - Now more than ever”. Artists from around the world are invited to apply to live and work in Weimar for four-month periods starting in February, June and October of 2018. Three artists will be chosen by a jury of art specialists meeting in November 2017. Please note that the deadline for applications is Sunday, October 29th, 2017. Please use the online application: APPLY ONLINE

The "International Studio Program of the ACC Galerie and the City of Weimar" was founded in 1994. The City of Weimar pursues the following aims in its role as an initiator and partner of the International Studio Program: To combine financial support for artists with the presentation of contemporary art in the urban realm, to serve as a forum for artists and as a catalyst for encounter between them and to gain international recognition for the resulting activities. By these means, international cultural exchange is to be promoted and prejudices eliminated. The support provided includes the provision of a combination artist's studio/apartment in the Municipal Studio Building – one of the oldest buildings of its kind in Germany – and by financing ¾ of the monthly stipend of 1000€. ACC Galerie Weimar organizes the rest of the financing as well as the worldwide advertising of the call for entries, the annual selection process and jury meeting and looks after the artists during their stay.

Annual themes of the program have been: "Allegories" (1995), "Fascis – Fascism and Fascination" (1996), "Kopf an Kopf – Head to Head – Tête à Tête" (1997), "Community – Society" (1998), "Close to the Skin" (1999), "Heart’s Blood – Hand-Written Script" (2000), "The Measure of Things" (2001), "über MENSCHEN – The Future of the Human" (2002), "Origin – No Man’s Land" (2003), "Irony is dead. Long live Irony!" (2004), "The Culture of Fear" (2005), "The Subversion of Standstill" (2006), "ON THE OUTSIDE" (2007), "On Indefiniteness" (2008), "Failed Art – The Art of Failure" (2009), "Beyond Desire" (2010), "On Dilettantism" (2011), "What Happened to God?" (2012), "With Criminal Energy" (2013), "The Politics and Pleasures of Food" (2014) and "Does Humor Belong in Art?" (2015), "The Art of Simulation" (2016), " A Romance with Revolution" (2017). The 69 participants of the program have come from Argentina, Australia, Belgium, Canada, China, Colombia, Croatia, Cuba, Finland, Germany, Great Britain, Greece, Guatemala, Iran, Iraq, Ireland, Israel, Italy, Japan, Macedonia, The Netherlands, Norway, Pakistan, Peru, Portugal, Russia, Serbia, Slovenia, Spain, Sweden, Switzerland, Turkey, Uruguay, the United States, Zimbabwe.

Former participants' comments

The peace of the studio and the social life at the ACC were important contrasts for me. It was a great advantage to be able to choose just what I needed and when. There was no problem working and exhibiting professionally, because the way of life in the ACC always guaranteed a listening ear, competence and high standards. An experience to remember!

Stephan Weitzel, Germany

Basically, it is always interesting to have a grant for a different country, and to discover new people and a new city. I had a good place to work and to live - that is important. If you can't speak German, you need to find a friend who can speak both languages well, so that you can exchange ideas or talk about your problems.

Ildar Nazyrov, Russia

Leaving my studio walls in Athens to come to Weimar was a bit like trying to kick depression by pathologically boring myself. I can still see Frank Motz trawling through the most funds-deprived art historical graveyard (Thueringen) and digging up the most fun-addled corpses (Wieland, Nietzsche...) for my inspiration. And he succeeded. Because like so many ambitious mischief makers (artists), I developed excessive multi-tasking which resulted in a video soap opera, "Dirty Soap", and a photo-novella of eight-hundred shots, "The Story of Agathon." After my residency at the European Studio Program, I can easily check voicemail with one hand and eat "pommes" balanced on the gear shift with the other, while simultaneously merging across three lanes of autobahn traffic to take an interesting picture. So, future artist-in-residence, don't be afraid of Weimar. Just dive in and surrender.

Dimitrios Antonitsis, Greece

I find myself constantly remembering you and your beautiful city. About my experience there, I can tell you that the time I spent in Weimar was great - I worked a lot, maybe more than I had expected, and perhaps I missed a few things in the city. I remember the light of the place, the house, the cemetery…and of course Julia. I was very happy there, although my visit coincided with 9-11 and - being so far from home - I felt sort of scared and worried about the end of the world, anthrax and terrorism. I think if I had had more resources, that would have made it possible to stay longer in Weimar, but I'm happy now to have invested those resources into producing a consistent body of work. I would like to come back some day, because while I was there I was able to go deeper into my research and had the chance to develop my work. Definitively, my experience at Weimar was very pleasant and important to my subsequent work.

Irim Lux, Spain

"During my stay in Weimar 2004, I found the staff of ACC extremely helpful to me while I was working on a large-scale photographic work for EXPO 2005 in Aichi, Japan. For the group exhibition "Irony is dead - long live irony!" I also produced two other smaller installations, so I can say my time in ACC was very fruitful. ACC studio program accommodates only a few artists simultaneously, but the friendliness of the ACC team in the café-restaurant as well as the gallery, provides a diverse and interesting social network. Also the individual residents of Weimar and the staff of the cultural management the city helped me to enrich and improve my artistic process through their participation, both technically and thematically."

Tea Mäkipää, Finland

For the ACC I can say that it was a really hard time for me and for my work. I work mostly site specific and try to get in contact with local people where I live, but this was very hard in Weimar. The people involved in the ACC Gallery were open, but the people in the city were not so open - I think because of the social structure that changed so many times, the history and the story before and after the wall. So many changes made people tiered. Maybe they try to focus more on themselves. They are a bit scared by any new situation. The studio place was also isolated, it was in the center but it was hard to find other artists around. And you did not meet often with the local people because it was in a street next to the nursing home and a cemetery. I think this makes it isolated too. The city itself is problematic too. I think there is too much history and it is really hard to move with this history you feel on your shoulder. I think if you are working as artist in the studio it maybe more easy, but if you work in social contexts it is interesting but also very hard to get in the society.

Esra Ersen, Turkey