<div class="gmail_quote"><div class="gmail_quote"><div><div style="font-family:arial,helvetica,sans-serif"><font><font size="1">[<i>Apologies for cross-posting</i>]</font><br><br></font><font style="font-family:arial,helvetica,sans-serif" face="georgia, serif" size="2"><b>CALL 4 PAPERS: PIRATE-CAMP READER</b></font><font><br>
<br>The
cultural association KANINCHEN-HAUS with the support of Fondazione
Cariplo invites curators, critics, and theorists from different
disciplines to submit contributions for the publication of the
Pirate-Camp READER, a volume on the theoretical issues related to the
project “Pirate-Camp / the Stateless Pavillion” (<a rel="nofollow" href="http://www.pirate-camp.org/" target="_blank">www.pirate-camp.org</a>) an itinerant artists campsite that took place during the last Venice Biennale.</font></div>
<div><font><span style="font-family:arial,helvetica,sans-serif">The aim of the publication is to explore, develop and reconsider in a multidisciplinary way the key tropes underlying the pirate-camp project: piracy, extraterritoriality, statelessness, temporary occupation, the camp, understood as potent concept-tools to interpret contemporary artistic and cultural practices. <br>
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<div>The deadline for submission of abstracts is March 30th 2012.</div><div>The authors of the selected contributions will be awarded 400 Euros.</div>For further information, please visit: <a rel="nofollow" href="http://www.pirate-camp.org/call-4-papers-pirate-camp-reader/" target="_blank">http://www.pirate-camp.org/call-4-papers-pirate-camp-reader/</a><br>
<br>---<br><p>Pirate-Camp <a href="http://pirate-camp.org/" target="_blank">http://pirate-camp.org</a>
is the first itinerant artists’ camping program created to give free
hospitality to a selection of young international artists during the
most important contemporary art events worldwide. The first Pirate-Camp
took place during the 54th Venice Biennale of Art violating the
notorious ban on camping in the Laguna.</p>
<p>Pirate-Camp is promoted by the non-profit organization Kaninchenhaus
with the support of the Fondazione Cariplo and the patronage of the
City of Turin and GAI (Association for the Circuit of the Young Italian
Artists) and with the collaboration of the Department for Youth policies
of the City of Venice and of Art Enclosures (Residencies for visiting
international artists in Venice created and produced by Fondazione di
Venezia). The project also involved a network of Italian artist-run
spaces.</p>
<p>Following Coniglioviola’s “Pirate Attack to Venice Biennale” <a href="http://www.coniglioviola.com/en/attacco-pirata-biennale-venezia/#/5" target="_blank">http://www.coniglioviola.com/en/attacco-pirata-biennale-venezia/</a> performed
by the group in 2007, Pirate-Camp represents the next step in this
story. After the attack, time has come for the pirates to halt on the
mainland: colonize the territory and share the treasures stored during
their long trip, before taking the Sea route again. The Pirate-Camp –
filling up the ideal gap between the sea, the pirates’ dominion, and the
land, the system’s dominion – is first and foremost a work of art
itself. It is the metaphorical representation of the natural and
necessary condition of being-an-artist. The analogy between the artist
and the pirate/encamped is the pivot concept, both from a symbolic and a
philosophical point of view: a status of extra-territoriality which
grants the artist a privileged point of view to critically observe and
depict the world.</p>
<p>Pirate-Camp responds to a need shared by many young artists: the
great international art events, such as biennials, fairs or
exhibitions, force young people to invest often large amounts of money
in travel and lodging. For this reason the creation of a totally free
camping has allowed a set number of artists – selected by public
competition – to live the experience of these events.</p>
<p>Pirate-Camp is an independent project designed by artists for
artists. The Residencies we are used to, are generally organized by
institutions, museums or private patrons, and seem to work on the
unwitting assumption that, not just the work of art, but its creator as
well, can be objectified and included in some sort of a private
collection. On the other hand, the Pirate-Camp wants to be a living
platform, and each and every participant becomes essential to its life.
The Pirate-Camp wants to be a great platform supporting the exchange of
new ideas and the mobility of young artists. Such a place wants to give
life to a collaborative experiment of artistic creation and encourage
the development of a collective and solid conscience, creating an
international network able to experiment alternative and independent
forms of intervention within the contemporary art system.</p>
<p>“The Stateless Pavillion” is the title and theme of the 1st
Pirate-Camp: an invitation to focus on the theme of extraterritoriality
seen as a natural and necessary condition for being-an-artist. A theme
which finds it symbolical representation in the project’s two
key-figures: the pirate and the encamped. The status of
not-belonging-to-any-place (whether real, common, cultural or
symbolical), living on the edge, on the one hand consigns the artist to a
condition of marginality, on the other it grants him a privileged point
of view in representing and discussing the world. The statelessness
theme earns a special meaning when related to the context of La Biennale
di Venezia, whose absolute peculiarity resides in the representation of
national identities.</p><p><br></p>
<p><b>THEMATIC CONTEXT<br></b></p>
<p>In this historical moment the concepts of belonging-to-place, the
idea of having a permanent home in the world, are put radically into
question. This is why the figure of the pirate and the camper become two
key references: survival solutions that we all should consider for a
different awareness and disposition towards the “system”. The project
pirate-camp wanted to suggest an analogy between the “mythological”
status of the pirate and the condition of practicing art, in all its
possible articulations. The pirate is not just an outlaw, but also an
outsider from any legal right, because he does not live anywhere. This
condition is the origin of both his power and his total marginalization.
So much so that the pirates, unlike corsairs, if captured, were not
treated according to the rules of maritime war law, but were summarily
executed. Such status of radical extraterritoriality, the living
out-of-places (both real or cultural) is intended also as the necessary
condition of artistic practice: on one side, it establishes an
impossible integration on the other it also guarantees a privileged
point of view for the representation and the questioning of the world.</p><p>Based on these premises. we are looking for theoretical contributions
that explore the philosophical, political, social implications of such
key concepts.</p><p><br></p>
<p><b>SUBMISSION GUIDELINES</b></p>
<p>This call for papers is dedicated to curators, critics, scholars and
theorists. Your submission should include an
abstract (maximum 800 words) and a short cv. Texts can be in English or
Italian.</p>
<p>The deadline for submissions is <b>March 30th 2012</b>.</p>
<p>The authors of the selected abstracts will be invited to develop a final contribution of about 3000-5000 words.</p>
<p>The Pirate-Camp READER will be printed under a CreativeCommons License and made also available as e-book.</p>
<p><b>Submissions, comments and queries can be sent to </b><a href="mailto:papers@pirate-camp.org" target="_blank"><b>papers@pirate-camp.org</b></a><b> <br></b></p><br></div>
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