Sheffield Fringe 2013
Call For Entries
Deadline 18th February

Now in its 3rd year, Sheffield Fringe is inviting artists’ moving image submissions for our 2013 screening series at Bloc Projects, Sheffield in June 2013, with touring venues to be announced.

There are no restrictions in theme or approach. We want the selection to be a response to artists’ practice interests and theoretical concerns. Works should not exceed 30 min and have some relationship to ‘actuality’.

Sheffield Fringe is an artist-led curatorial project, exploring the confluence point between art & documentary practice. It was first staged as a nano festival in June 2011 to coincide with Sheffield Doc/Fest. We are interested in single-channel works that inspire dialogues, and/or are playful critiques of the documentary form, performance and spectatorship.

Urban Research 2013
Berlin, 7-17 February 2013
Deadline December 25, 2012

Urban Research is a film and video program curated by Klaus W. Eisenlohr for Directors Lounge 2013. Urban Research encompasses explorations of public space, the conditions of urban life, and interventions in the urban sphere, by international film and video artists using experimental, documentary, abstract, or fictive forms. For The 9th International Berlin Directors Lounge artists' moving image in any format except 35mm are welcome.

City life and modernity have been as strongly connected as film and architecture, two art practices, which had a strong impact in shaping the character of the 20th century; playing a major part in establishing and shaping the myth of metropolitanism, the myth of modern art, and of course including the work of self-mystification. During the twentieth century both broadcast radio and cinema embraced the ideological myths of regimes of power. In post-modern, post-histoire, and post-industrial art practice, the controversy between l'art pour l'art and political activism became even more pronounced, their opposition may have been just the flip-sides of one coin, while each side promulgated their part of mythologies, these were capitalized on more by the art market than they were appreciated by centers of power or by a critical public.