Submit 1 – 4 images of artworks & 100 word rationale to firstname.lastname@example.org
Winner will receive
R 15 000 CASH PRIZE !!!
30 April 2019
Please see Terms and Conditions below:
ARTISTS’ CALL FOR PRINTMAKING EXCELENCE: FUNDEMENTALIST RATIONALISM
Ancient Greek philosopher, Zeno’s famous paradoxes produces odd conclusions, such as motion is impossible and the further impossibility of travelling a finite distance. The conundrums seem to revolve around notions of infinity. One must conclude that reason taken to its logical conclusion bends in on itself and becomes contradictory.
Such “conclusions” cohere with contemporary post modernism and discourse around art. Talk of the end of grand narratives, of the cantered logo-centric truth and “pure” reason are holy grails that have eluded us at best or simply subsided in extreme nationalism, exclusion of the “other” and the dangers of a uniform system of control. In art, this was heralded with the modernist explosion of new art movements, a movement away from traditional knowledge and institutional control (whether this succeeded or just creates another canon or system is debatable).
When Magritte painted his famous “this is not a pipe” he was in effect saying that to create a picture of x is an illusion of x. When Duchamp declared the now so-called “ready-made” as art, a fixed ontology of art was no longer forthcoming. Such artists question – like the philosopher – aspects such as what is real or true or good. In the realm of science, the constituent particles are mainly described as moving energy such that solidity is called into question. Whether in politics, art and science, there appears to be no fixed rational description of reality. Indeed, as Zeno pointed out so very long ago, perhaps there is a point at which reason is limited. Mathematics may describe such a seeming impasse with ideas such as infinity, yet the idea that infinity can be measured appears contradictory.
Yet a further difficulty arises: While to cast a sceptical eye on how reason may impose an order, a kind of fundamentalist totalitarianism, the antinomy – namely the decentred sign – implies a kind of chaotic eclectic mixture, wherein definition and objectivity seem to be eradicated. For when the text has no clear meaning, when art has no definition save its institutional contextualisation, where the destabilised sign means that anything could mean anything, then are we bereft of meaning and truth? Is the price for doing away with classical logic, a haphazard collective of mere surfaces, with no solidity or value?
On the other hand, the positive spin on this openness is that aesthetics is not simply an image with a definite correspondence to demarcate reality from that which so refers, namely language. No, Derrida’s notion of difference implies that language does not simply refer to a stable world out there. Indeed, language is itself a reality or medium and not a transparent one at that. In art, the image which is a sign can portend to multiple meanings or in fact, no meaning. Perhaps at best there is simply tautological truth as conceptualist artist Kosuth perhaps expressed with his well-known artwork of a “real” (or actual) chair, a dictionary definition of a chair and a photograph of a chair. And yet, “chair” might also have metaphorical significance.
In effect, one is part of the processes that give rise to thoughts and emotions, so that one is as much cause as effect. Pointing to reality includes that which points. Artworks are not windows into or of the world. Art works are objects in the world. Their fate is unpredictable, a quantum particle and wave. Consider the massive imprint of even popular culture which draws from art and it will be clear that reality is no-where to be found: there is the surface; the sign; the symbol and the games and conventions that defines societies and cultures. Nothing is what it seems precisely because one engages with each the other via a medium be it biological and cultural and therefore there is just a play and struggle of nature and human intent. “Therefore” is here said with circumspect. The initial premise may very well imply another conclusion.
Printmakers are welcome to respond to the philosophical, psychological, political and aesthetic dimensions of ideas surrounding infinity, paradox, illusion, post-modern diversity and instability of the sign or presence and the like. If it is true to say that many artists use art to better grasp reality or at least hint at its ineffability, then perhaps envisage and imagine and transcribe as printmakers your ideas concerning the complexity, difficulty and perhaps beauty that the play and struggle of nature/self/culture inevitably gives rise to.
Dr Daniel Shorkend
TERMS AND CONDITIONS
Eclectica Print Gallery Art Competition
Nothing is what it seems
Relate the title to “Zeno’s Paradox”
Printmakers are welcome to respond to the philosophical, psychological, political, emotional and aesthetic dimensions of ideas surrounding infinity, paradox, illusion, post-modern diversity and instability. If it is true to say that many artists use art to better grasp reality or at least hint at its ineffability, then envisage and imagine and transcribe as printmakers your ideas concerning the complexity, difficulty and perhaps beauty that the play and struggle of nature/self/culture inevitably gives rise to.
Solo Exhibition in October 2019
Representation by the Gallery
(R10 000 at the end of July) – to aid in funding Solo
(5 000 at the end of Solo)
SELECTION OF FINALIST AND WINNER
10 printmakers will be short-listed as finalists in the first round and be given the opportunity to exhibit in a group exhibition during June/July 2019. In the second round, a winner will be chosen by a largely independent panel of judges(The Judges will choose a Winner based on the work displayed in the Group Show). The winning artist will be awarded R15 000 in cash, a Solo Exhibition during November 2019 and representation by Eclectica.
First Round: TOP 10 Finalist
Date: Both Successful & Un-successful applicants will be notified by the 3rd of May.
Second Round: Finalists
Judges to be announced.
The entrance is open to all residing in Africa aged 18 and older and are not represented by a commercial gallery.
Submitted works are to be completed X weeks prior to the closing date of the competition.
Do not apply with works that have been exhibited or works that date before 2017.
Must submit between 2 and 4 artworks that relate to the exhibition title and conceptual framework.
Works submitted for the competition must have been created by the Entrant i.e. his/her original work and remain his/her property for the duration of the competition and exhibition until such time as the work has been collected by, or returned to the Entrant, or sold during the exhibition.
If a work is sold by the Gallery, 50% (fifty percent) of the Sale Price excluding VAT will be allocated to the artist and 50% (fifty percent) to the Gallery.
Eclectica will not be liable for any loss or damage to any artworks physically submitted at any point during the competition, however caused, either in transit to and from the exhibition, or during any period of storage, packing or unpacking, exhibition or in any period in which the work is in their keeping.
Works submitted for the competition will remain the property of the Entrant for the duration of the competition and exhibition unless sold and the artist has been paid for the work.
Once registered for this competition, all Entrants agree that we, Eclectica, may reproduce their work (at no fee) for any purposes required (including press/publicity/website and catalogue and any other printed or digital material, advertising the exhibitions and future entries), excluding for resale unless authorised by the artist.
- All Entrants must submit a copy of their ID
- All Entrants must submit a copy of their CV
- All Entrants must supply their physical address
- All Entrants must submit a brief description of the work eg: Title, Medium, Size, Year, A paragraph of how work relates to the title
- All Entrants must submit Proof of Originality
- All Entrants must submit a minimum of 2 and 4 images that relate to the exhibition title
- All entrants must submit attach image via email through either JPEG or PDF format(High resolution images) to email@example.com
Entries Open: 15 January 2019
Entries Close: 30 April 2019
10 Chosen: 3rd May 2019
June/July Exhibition: 6th June 2019
Solo Exhibition: 7th November 2019
It is the artist responsibility to cover the transportation cost of artwork to and from the gallery.
Artworks need to be delivered a month prior to exhibitions opening. No late artwork will be exhibited.