Open Call for Artists in Residence Dados Negros AIR 2016

  Holography & Art Centre Dados Negros 

Villanueva de los Infantes (Ciudad Real) SPAIN

Dados Negros Centre welcomes two artists in residence during the month of July 2016 by procuring a place to research, create and reflect, facilitating the development of the creative process of their projects, which will be evaluated prior to their stay in the center by AIR a public call open until April 26, 2016.

This program is open to international artists, linked to any artistic discipline and offers a maximum of 2 places with a stay of 1 month.

Check out the rules of the open call AIR Dados Negros 2016  

http://www.dadosnegros.com/download/air/Dados_Negros_AIR_2016_EN.pdf

 'Dados Negros' poem by Dionisio Cañas

 Landscape surrounding Centro Dados Negros

 "Convidados", October 2014.

 Workshop La Más Bella, May 2015.  

Night in Centro Dados Negros

Residency Programme Rules AIR 2016

The Pepe Buitrago Foundation organises its first Residency Fellowship for Artists.

Dados Negros AIR 2016 is a programme whose aim is to offer support to both Spanish and international artists. An artist is defined as a person whose work is related to the creation and production of contemporary art concepts, and who wishes to develop a research or creative project.

Duration: One month at the facilities of the ‘Dados Negros’ Holography and Art Centre in Villanueva de los Infantes, Ciudad Real.

Date: July 2016.

Grant: Each Residency Fellowship is accompanied by a grant of €300.

Accommodation: The ‘Dados Negros’ Centre will provide all the selected artists with a double room with a private bathroom, a common kitchen-dining room area and a workspace shared with other Residency Fellowship artists.

Workspaces: The schedules for the workspaces and the spaces themselves will be agreed upon depending on each project’s needs and the availability of the Centre’s spaces.

Expenses to be paid for by the artists themselves: Travel, food allowances, medical coverage/accident insurance.

Agreement: The artists selected agree to offer a training activity for the local community that is related to their respective Residency projects. This training activity can be in the form of a free lecture for the attending public or an intensive workshop – for which the artist will receive 70% of the fees paid for by the attending participants. (The remaining 30% will go to the Foundation to cover expenses). If artists choose the training activity, they must send detailed information about it, together with their Residency project.

The obligations of the beneficiaries
• To fully fulfil the period for which their Residency Fellowship was granted.
• If the artist cannot undertake the residency on the dates allocated, they must give at least thirty (30) days written notice.
• The artists authorise the Pepe Buitrago Foundation to copy, fully or in part, and only for purposes of the promotion and diffusion of the Programme, the artworks created during the Residency Fellowship. In addition, they shall mention in all works and initiatives resulting from their Residency period their relationship with ‘Dados Negros’ and the Pepe Buitrago Foundation the statement: “With the support of ‘Dados Negros’ Holography and Art Centre. Pepe Buitrago Foundation”.
• The artists must ensure the maintenance of the spaces and materials and regularly attend the Centre as established. Noncompliance of said maintenance, as well as any absence that could jeopardise the development of the project in the period established will result in a severance of the relationship with the Centre.
• Artists must take out their own Accident Insurance to cover any personal harm suffered during their stay at the Centre. Important: This Residency Fellowship does not include medical coverage. Each resident artist must personally take out medical coverage valid for their period of Residency at ‘Dados Negros’. The Pepe Buitrago Foundation and the ‘Dados Negros’ Centre is not liable for medical expenses.
• The artists agree to return the space used in the same condition they initially found it in.
• The artists selected agree to mention the support received from the ‘Dados Negros’ Holography and Art Centre and the Pepe Buitrago Foundation in all public communications regarding the project developed during their Residency Programme. The ‘Dados Negros’ Holography and Art Centre and the Pepe Buitrago Foundation are not liable for any damage or loss that the materials and artworks created could suffer as a result of any type kind of incidence (fire, theft, flooding, etc.).

Selection: The selection of artists will be carried out by the Dados Negros Centre’s Programmes Committee taking into account the artistic quality and creativeness of the applicants’ works, their training and/or professional path, the nature and feasibility of their proposals, and the projects’ suitability to the resources that the ‘Dados Negros’ Centre can offer.

Decision: The artists selected will be informed of the decision on 30 May 2016, and their names will be posted on the Foundation’s website, http://www.dadosnegros.com.

Applications:
To apply for a Residency Fellowship, the following documents must be sent:
1) Application form. Attached here, and filled out with your personal details
2) Copy of id Card/Resident’s Card or Passport
3) Proposal or project to be carried out. Title, short description, work plan, personal reasons for applying. Photographs or sketches of the planned work
4) Residency project and a brief cv
5) Portfolio of previous work (optional)

For documents 3, 4 and 5, only pdf files (up to 8 Mb) will be accepted. Projects can be sent either in Spanish or English. Applications with incomplete information will be considered invalid.

Deadline for receipt of applications: 26 April 2016 

Send your application: 

By email: contacto@dadosnegros.com

By post:
Centro Dados Negros
C/ Fuente Quintana, 3
13320 Villanueva de los Infantes
Ciudad Real - Spain

Your participation in this selection process involves your full acceptance of these rules, as well as that of the decision of the selection panel.
Should you need any further information, please email us at contacto@dadosnegros.com and write “2016 Artists Residency” in the subject line.

Complete rules and registration form at the following link:

http://www.dadosnegros.com/download/air/Dados_Negros_AIR_2016_EN.pdf 

 Villanueva de los Infantes, Ciudad Real, Spain. 

José Manuel Navia - Tablas de Daimiel National Park, Spain 2010

             

             

Today i came across this photographer José Manuel Navia and his body of work Tablas de Daimiel National Park, Spain 2010. Browsing through the photographers of agence vu i noticed this body of work. I was intrigued how José had captured the magic of this national park and created a strong narrative that follows this story. I was most intrigued by his portraits and the way he has photographed them in a very natural way. Im not saying that they haven't been staged however they still feel as if he wasn't present when the photograph was taken. This is interesting to me as i am still tumbling through the possibilities of how i could photograph the portraits that will be part of my body of work. I also liked how he has photographed the landscapes within this body of work and how they all carry the same colours, relating to each other and creating a flowing feeling to the images as they unravel. Here is the caption that accompanies this body of work;
Tablas de Daimiel National Park (Parque Nacional de las Tablas de Daimiel) is a nature reserve in south-central Spain on La Mancha plain in the province of Ciudad Real. It is a floodplain wetland in an arid part of Spain created where the Cigüela river joins the Guadiana river.
It enjoys international recognition as a wetland on the list of the Ramsar Convention. The European Union designated it a Special Protection Area for birds . It is home to many bird species, some year-round residents, some migratory. Among the flora, aquatic plants are the basic substrate of the Tablas, and the only trees present are the tamarisk trees. It is one of the most important aquatic ecosystems of Spain and was probably the main inland wetland.
The wetland landscape is characterized by recurrent seasonal inundation which until recently was maintained by both river flooding and groundwater discharges. The Tablas are provided with two types of water making an unusual ecosystem: the Guadiana contributes fresh water, while its tributary the Cigüela is brackish.
The Tablas de Daimiel had a long tradition of waterfowl hunting. Spanish kings from Infante Don Manuel in the 14th century to Alfonso XIII at the turn of the 20th century, hunted in these parts. The water resources of the area also provided fishing and power for mills. One of the major human modifications in Las Tablas and around until the 20th century were the mills. It came to count up to 14 mills, some of which dates back to medieval times. The mills were social centres where the wheat was ground, fishing and hunting was sold and you could eat, sleep and exchange products.
In recent years demand for water for agriculture in the area surrounding the park has reduced the amount of wetland. Overexploitation of water resources has caused the water-table to drop. The key aquifer has not been able to refill because of illegal wells and canalisation of the rivers. Early in 2010 the situation was improved by heavy rainfall and an emergency transfer of water from the Tagus. 

From Thomas King Documentary Photography Blog. 
http://thomaskingdocumentaryphotography.blogspot.com.es/2012/11/jose-manuel-navia-tablas-de-daimiel.html 
http://www.agencevu.com/stories/index.php?id=934&p=63 
More José Manuel Navia works in: http://jmnavia.blogspot.com.es/2013/10/nostos-navia.html 
http://jmnavia.blogspot.com.es/2007/01/territorios-del-quijote.html

José Navarro "Trashumantes"

Every November a small group of Spanish semi-nomadic shepherds from Teruel set off on a 3-week long journey and walk a flock of 5,000 sheep across 250-miles of Spanish landscapes. They leave behind the exhausted summer pastures of their native Serrania de Albarracin and head for greener, winter hillsides in Jaen, Andalucia.

They are the ‘trashumantes’, the very last ones who still practise a 1000-year-old tradition on such a large scale.

I recently accompanied them for the whole duration of their seasonal migration. This project took three years from inception of the idea to realisation. A series of sheep epidemics and the subsequent government ban of nation-wide movements of animals almost finished off the already precarious lifestyle of the trashumantes.

During the journey I felt the pervading sense of camaraderie amongst them and witnessed how the activity completely defines who they are. They are trashumantes and could not, would not, be otherwise. Sadly, they’re often seen as an anachronism in our technology-driven society. However, for the trashumantes the journey is not an exercise in nostalgia but a cost-efficient, environmentally-friendly alternative to road transport: they save money by walking the sheep instead of taking them in lorries. So the activity is unquestionably rooted in a modern market economy.

I don’t know how long they will keep doing it, but I hope that the young shepherds who came with us eventually take over the responsibility from the core of mature trashumantes who drove the expedition. It would be a great loss if the drovers’ tracks eventually faded in the landscape because no trashumantes walk them anymore.

All images copyright © José Navarro

More info: http://www.josenavarro.co.uk/wp/?page_id=179 

Summer Postcard: Nicolás Muller

Photo by Nicolás Muller.

Corro de niñas, Argamasilla de Alba, 1957.

Gabri Solera "Terrain Vague"

"Terrain Vague" photographic work by Gabri Solera (Madrid, 1983).

Ana Galán

Ana Galán – Madrid, 1969.

Viv(r)e la Vie!

Manuel Pinar

Genets

Quarries

Lonely Bush

Manuel Pinar through work in photographic series explores the immediate environment that surrounds the island of Menorca in the Mediterranean Sea.  Through anonymous spaces inside the territory speaks both to its identity as a spatial gaze in wich the passing of time is imperceptible. In this work the confluence of the memory of the place and the author's personal experiences joined to create space for reflection around the good use and misuse of the countryside.