CCA Creative Lab Events

Creative Lab-Oblivia

01 Sep 2008 00:00:00 GMT

Entertainment Island
Entertainment Island is Oblivia's project, 2008- 2010. During this three–year period Oblivia, through means of performance, film, photography and text, will divulge and scrutinize the manifold world of entertainment and popular culture. Entertainment Island in its entirety will be launched in 2010. Co-produced by Kiasma Theatre, Helsinki, Finland.

Entertainment Island # 1
An array of gestures, movements and sounds emanating from the entertainment industry are presented in this energetic performance unveiling the mechanisms of popular culture.

Our next stops are a residency at CCA in Glasgow, UK where we show a preview 19 –20.9 and the Entertainment Island 1. premier at Kiasma Theatre during the Theatre Now festival 3-5.10 2008.

"We spent weeks doing funny walks and telling bad jokes while pulling out false limbs and making funny faces. The pretend stuttering was the final straw. We were stuck and not the least funny. We had to face what we knew from the start: we are not entertainers. We do not deal in entertainment. We deal in structures.

"We changed track. We proceeded jumping up and down shouting Yeah! Yeah! Yeah! Encouraging each other towards greater feats, saluting imaginary victories without showing the contest. We had arrived at the core of popular culture”.

Performed and devised by: Timo Fredriksson, Anna Krzystek (UK), Annika Tudeer.

Sound: Juuso Voltti

Lights : Liisa Kyrönseppä. Producer: Johanna Fredriksson. Photos: Eija Mäkivuoti

ABOUT ENTERTAINMENT ISLAND Entertainment Island is realised in collaboration with: Kiasma Museum, Kiasma Theatre, Produforum, CCA (Glasgow), Finnish-Institute (London), Finsk-norsk kulturinstitutt, Ludcia Khabibulina/ St Petersburg.

Entertainment Island is funded by: Kulturkontakt Nord, Alfred Kordelins fond, Svenska kulturfonden, Arts Council of Finland, AVEK (Promotion Centre for Audiovisual Culture).

Founded in 2000 in Helsinki, the international performance company Oblivia is a unique force on the Finnish performance scene. Oblivias collectively devised, interdisciplinary and minimalist performances merge the boundaries of art forms and nationalities. The background of Oblivias members from Finland, Iceland and UK are in performance art, music, dance and theory. This mixture of backgrounds and nationalities creates a vibrant and special tension and humour in the work. From the beginning the core members have been working together creating a common performance language. Guest collaborators are invited to partake in individual projects.

Oblivia is part of the Produforum network based at Korjaamo, Helsinki. In spring 2007 Oblivia received the Stina Krooks Award for its long-standing commitment to developing work between theatre and conceptual art. Oblivia is house artist at Kiasma Theatre from 2007.

Annika Tudeer (FIN) - founder/artistic director/performer
After working as a dancer/choreographer Annika completed her MA in literature at Helsinki University and worked as a dance and performance critic writing extensively nationally and internationally on new trends in the performing arts.

Anna Krzystek (UK) – core member/performer
Anna is a Glasgow based performer and choreographer. She has been with Oblivia since 2000 devising and performing the work.

Timo Fredriksson (FIN) – core member/performer
Timo is a classical pianist. He started working with Oblivia in 2000 as a musician and has since been drawn into performing and devising the work.

Creative Lab: Helen Cuinn, The Hair on My Head is Dead

29 Sep 2008 00:00:00 GMT

A curl springs forth from the bonny babe’s head,
The hair on my head is dead, my love, the hair on my head is dead.
What about brown or blonde instead?
Oh the hair on my head is dead.
The life fire that burns so red, so red,
Oooh the hair on my head is doornail dead, the Hair on My Head is Dead!

"Reasonably attached to my flame red locks, I set out to explore the relationship between a person and their hair.

"I know people often make judgements on my character based on my colouring.

I know that ‘gingers’ are the last bastion of slagging in ‘a world that has gone mad for political correctness’.

I know I am meant to be angry or sexy or fiery or witchy or weird.

I will use this residency opportunity to grind up ginger nuts, play with rusty nails, and doff some See You Jimmy bunnets in an attempt to put my image under the microscope.

In the finale, I will try to remove myself from my hair."

Helen Cuinn is a freelance performer and writer. She has most recently toured Scotland with the critically acclaimed one woman show ‘Hoose and Hame’. She continues to perform for others; festival appearances include CCA Creative Lab showing (2007) for Nic Green, NRLA (2008) for Sarah-Jane Grimshaw, and the Forest Fringe (2008) for David Overend. She also performs for screen and was recently featured in Shelly Nadashi’s new video work ‘Calling the Ginger to Come’.

Her new performance installation, also entitled ‘The Hair on My Head is Dead’ will be shown at Arches Live Festival in September.

Creative Lab: Figure This

03 Nov 2008 00:00:00 GMT

FIGURE THIS is to develop as the third in a series of solo performances following TEST and STILL.

In these pieces the performer is referred to as the figure.

Her presence is at once both immediate and distant as she is placed in relation to time, space, filmed image, object and sound.

FIGURE THIS aims to observe the figure more closely unveiling newly found aspects of her presence.

The figure moves through a series of choreographic acts that sees her pushed to extremes. These acts are compulsive and enduring, they commence and end without warning leaving the figure suspended in periods of "not doing". It is precisely in these gaps of "not doing' that the figure is revealed and a sense of closeness can be felt.

Original sound composition by Tom Murray.

Film and Still visuals by Tim Nunn and Daniela Di Paulis

The completed work is commissioned by New Territories and will premiere as part of the New Territories programme on 17th and 18th March 09 at Tramway, Glasgow.

The development of FIGURE THIS is made possible by support from Scottish Arts Council- Choreographic Fellowship Award, CCA Creative Lab residency, Dance Base, Dance House, Balance and Oblivia.

Anna Krzystek is a performer/choreographer based in Glasgow. She is also a core member of Helsinki based Oblivia Performance Company.

Art Internship Opportunity

03 Nov 2008 00:00:00 GMT

CCA is offering a six-month arts internship commencing in January 2009.

The successful applicant would help contribute to the day to day running of the venue. It could also involve shadowing members of the staff, assisting with CCA events and exhibitions or carrying out specific projects on your own.

You must be available to work at least 1-2 days per week. Interviews for this Internship will be held in December.

To apply please email louise@cca-glasgow.com for an application form and complete and return to Louise Shelley by noon, Friday November 21 2008.

Arts Internship Role Description:
This role is designed to offer an intern insight and experience in art management and administration.

Duties of the Role
In addition to assisting and work-shadowing for events, the role may include assisting with:

general office duties such as opening and distributing daily mail, daily collection, stamping and postage of mail at end of day, receiving and distributing other deliveries
the display and distribution of publicity material and weekly press coverage
mailing out and delivering of flyers and other promotional material
sourcing and updating databases and mailing lists
the preparation and event management duties of CCA events
sourcing and arranging best value travel and accommodation arrangements for artists
attending regular CCA team meetings
any other reasonable duties as requested by the Office and Programme Assistant

Hours Worked
This is a volunteer role for 7 to 14 hours per week over 2 days. A regular weekly pattern to be agreed with the Office and Programme assistant.

Position in the Organisation
Reports to the Office and Programme assistant.

SalaryThis is an unpaid role. Complimentary passes to some CCA events may be provided.

Person Specification

Desirable:

Experience of working in an office environment
Experience of working with people

Essential:

An interest in the arts and arts administration
Knowledge of and experience working with Microsoft office.
A flexible approach to work
A helpful and positive disposition
Ability to work in a team and independently.
Time management skills
An understanding and commitment to equal opportunities

Please download the job description and application form on the left hand side.

Applications should be emailed to Louise Shelley, louise@cca-glasgow.com, by noon, Friday November 21 2008.

For further information, please contact louise@cca-glasgow.com or on 0141 352 4900.

Creative Lab: Call for Submissions

03 Nov 2008 00:00:00 GMT

The Centre for Contemporary Arts in Glasgow invites submissions from artists to explore new ideas and methods in the Creative Lab space.

Artists working in the live art, contemporary performance, new theatre, time-based media and interdisciplinary arts sectors are invited to submit proposals to be considered for a CCA Creative Lab.

Creative Lab objectives:
An opportunity for emergent and established artists to have time for process, rather than focusing on final product

To give artists an opportunity to show their investigations to the public for feedback

Networking opportunities

General information:
The Creative Lab space at the CCA is a light and versatile room approximately 7 m x 11.70m. Support for the Creative Lab can include use of a small residential space to sleep one person (depending on availability). Technical assistance for sound and lighting can also be requested. The CCA may also be able to assist with mentoring, administrative or other production needs.

Applicants should make it clear in the submissions if their Creative Lab would depend on technical or other provision. CCA has £500 allocated for each Creative Lab (which has to cover any production or technical costs for in-progress showings etc).

Dates:
12 slots, up to 4 weeks each, April 09 – March 2010

The time slots for the Creative Lab space are on a fixed diary. Please let us know your preferred month from the list and we will notify you of the closest available slot.

Selection process:
Applications from artists based in Scotland will be particularly welcome.

General criteria:
Time spent must be on development of the artist's own, original work

Creative Lab time is for research rather than rehearsal time

We are primarily looking for artists who are unable to fit easily into theatre, poetry, dance as traditional categories. The focus is on the contemporary artist who specialises in the realisation of ideas, rather than pursuing a specialism

Artists will be required to share their work in an open studio day, an artist’s talk, and a work-in-progress performance or in a format to be discussed with the CCA.

Artists must also help with evaluation and provide appropriate documentation of their Creative Lab.

Artists must conform to CCA’s Health & Safety rules and regulations

Equal Opportunities will be employed in the selection of these labs in line with CCA’s policies.

To submit a proposal:
We would like a brief (maximum 2 sides) description of the work you would like to investigate, including the conceptual basis, content, art forms used, and how much time you would need. Please include your CV and list of artist’s experience and any supporting material or documentation on video or DVD.

Deadline: 12 January 2009

Send proposals to:
Creative Lab
CCA
350 Sauchiehall Street
Glasgow G2 3JD

Enquiries: gen@cca-glasgow.com

Creative Lab: Ulla Hvejsel

05 Jan 2009 00:00:00 GMT

Born in 1975, Ulla Hvejsel is a visual artist working experimentally with theatre, film, television (both as viewer and doer), journalism, curating and visual arts. Her latest work is a cabaret and performance based on jokes from war films. www.realpolitik.dk

"While in residency at the CCA, I will research and develop the piece "Placebo living - science and self-deception", a show / presentation / performance about how to cheat or deceive yourself. It will be an edifying wannabe-scientific presentation, about the self - integrity and the great human ability to change ones mind! This possibility will be talked about with examples such as placebo medicine, money saving techniques (of using cash instead of credit cards) and techniques for getting up in time (setting the alarm clock earlier than it actually is). I will dive into theories of desire, suppression, tact, manners and how to do it's, to put forward some ideas about positive effects of weakness in character, inconsistenties and unstable minds.

Placebo
Since the placebo effect was first described in science, in 1955 by Henry K. Beecher, little research has been done to uncover what positive values it could suggest. Most of all, the Placebo effect is considered a hidden defect to be taken into account when researching the effects of any given medication or new medical procedure.

In spite of the fact that the placebo effect became well known in what is orignally considered a decade with much facade and self-deceit, it did not win much acclaim. The next few decades were devoted to ritual undressings and explorations of the truths behind the lies, and the "finding yourself" and developing from all these uncovered things. In effect there has been little inclination to deal seriously with the self-delusion and it's possibilities.

It took a firm with a good deal of courage and not so much to lose, to take up this debate. Comittee of Realpolitik now brings you the fiirst preliminary results of the resumed research project of Placebo! Text on pill glass: PLACEBO - effect - What the eye doesn't see the heart doesn't grieve for. The Placebo effect is a useful effect of one persons deception of another. Although it is the other that deceives, the patient helps him/herself by the power of his or her own belief. This naturally puts us on course to investigate the possibilities of using these forces, when we are aware of what is going on. SELF-DELUSION - That a person singlehandledly deceives him/herself. I.e. by setting the alarm-clock half an hour earlier in order to get up out of bed in good time.

In the long run however, you wont be able to fool yourself. TO LOOK PAST YOURSELF To attain a longlasting self-deceit, it is necessary to cultivate an actual doubt - a doubt that can last even after the tired temporary "beside-yourself" phase in the morning. What we need is a formula to keep a stable level of "beside youself." when you need it. Commitee of Realpolitik has objected to, and made fun of the idea of objectivity on several occasions. Now it seems that we can find some use in the tools that objective journalists and theoreticians use. Tools for making sure they dont bring their personal issues into the matter. Comittee of Realpolitik has argued that it couldn't be done, so why try, but with the newest research on Placebo and self-deceit it just may be possible to obtain new and spectacular results!

Job Vacancy: Technical Assistant

26 Jan 2009 00:00:00 GMT

CCA is committed to presenting a challenging and diverse artistic and educational programme across art forms.

Due to a recent re-organisation the following vacancies have arisen:

TECHNICAL ASSISTANT (PART-TIME 3 DAYS PER WEEK)
You will assist the Production Manager to ensure that all CCA events, both hires and in house events, are produced to the highest standard, including, when required, the recruitment of casual crews and supervision of their work and liaison with clients, providing for their technical and production requirements.

Knowledge of contemporary art is desirable.

Closing date for applications – Friday 13^th February 2009 at 12 noon

For further information and an application pack, please email louise@cca-glasgow.com

The Centre for Contemporary Arts is an Equal Opportunities Employer.

www.cca-glasgow.com

Creative Lab: Transition

02 Feb 2009 00:00:00 GMT

The work involves taking video footage and audio recordings of a group of 20 individual teenagers, along with a number of parents and grandparents, exploring the on-line BEBO community and examining the snaps and language they use culminates in a multi-media installation called ‘Transition’.

The artist, Christine Webster comments:

"My own interest is in how the creation of image functions as a mask or disguise in order to place or rank teenagers in order of ‘coolness’ and what is at stake here and what they do in order to be liked or cool.

"Metaphorically people use a ‘mask’ or ‘pose’ in order to conceal or hide something. By use of a particular dress code and lingo certain essential information is revealed to fellow peers.

"The Bebo ‘chat’ explores one of the key methods for communication between teenagers; not only a leisure activity where they may spend hours at a time but one which is crucial in creating their image and identity through the use of text and images."

Using audio to interview teenagers and parents in conjunction with video and stills to capture the way in which they present themselves, this multi-media work probes the importance of image in teenagers, using teenagers from the Ayrshire coast of Scotland as its participants.

Creative Lab: Linda Franke

02 Mar 2009 00:00:00 GMT

I am on my way carrying a giant piece of skin coloured lilac and dark green. It is as big as a sleeping self-inflating car. The surface feels like the back of a frog.
I got to bring it somewhere, quickly.
In that country it is hot and streets are dusty full with crazy bus drivers.
As I run to catch the bus I see a couple that is grown together on ears and nose. They look funny and I realise that other people around look funny too.
The Wind blows hard and as I am inattentive one moment the skin starts to burst in the wind and I have to run after it to save it. A car stops and people want to help me. After I caught a small piece of the skin I go and bring to the other side of the street in side my car. While I sit in the car I see that those people inflate the giant skin and I know immediately that this is fatal and that I have to stop them somehow.
But I am caught in the car and scream no, no, no, no.
I struggle hard to get out of the car but I am too late the skin is now fully inflated and starts to burn, seconds later cars around are burning too. I feel an explosion coming and start to run.

The performance artist Linda Franke works in an unusually sensual way and constructs a narrative which reveals her affinity to surrealist paintings and a fantastically bizzare world of film images.

Komlpex room installations involving costumes and mask are basic equipment in her performances, which generally happen only once and suggest performance as an ephemeral experience. The aspect of visuality that shows in emphasizing material qualities such as silicon, rubber, foam, wax, fabric, wood and food and is combined with sound elements from diffrent music genres ranging from jazz to opera.

A certain motionlessness of the scenes suggests to draw comparison to a Tableau Vivants, a living picture.

Wild

27 Mar 2009 00:00:00 GMT

Linda Franke presents an open studio to show work developed in her current Creative Lab residency at CCA.

Visit Linda's Creative Lab page

Appointment of board members

27 Mar 2009 00:00:00 GMT

CCA is a unique experimental art space that supports artists based in Scotland within an internationally renowned programme. It provides a major platform for electronic and digital work across artistic disciplines while actively supporting more traditional art forms. Along with a compelling core programme, CCA is a hub for a much wider set of organisations, artists and other groups appropriate to the ethos of social, cultural and artistic experiment.

The board feels that in order to fulfill their role as directors they would benefit from persons who have one or all of the following qualities:

Professional Arts Practice
Affiliation with Media and Technology industries
Marketing or Fundraising experience
Business/catering/trade experience
Experience in the field of Education

Expenses will be met.

Interested candidates should send a CV along with covering letter explaining the contribution they could make to CCA, to Board applications, CCA 350 Sauchiehall St, Glasgow, G2 3JD.

Closing date for applications is Wednesday 22 April 2009.

CCA is supported by the Scottish Arts Council, Glasgow City Council and by the National Lottery through the Scottish Arts Council.

Creative Lab: Alex Hetherington

01 Apr 2009 00:00:00 GMT

A Million Lies; Once and Only Revealed After Death (Triangle of Need) and Sarah Winchester Made Me Hardcore, The Franko B Remix.

Alex Hetherington’s practice scrutinises the context and reading of the pre-existing image, performance, film, subject and the nature of the 'exhibition' using improvisation, re-enactment, commingled materials, synchronization, research, collage and forms of ambiguous self-analysis, the self-portrait and a scrutiny of the ‘reference’. He operates within a framework led by technology, research, process and performance (video, sound, web, blogs, self-publishing, print, film, performance) and a practice that absorbs multiple roles including writer, producer, curator, performer, researcher, artist, editor using these tactics to develop processes through which multiple and complex synchronized outcomes can be reached.

For his residency at CCA he will be extending live, remix and pre-recorded performance work initiated by an Alt-W, New Media Scotland award 2008–2009 commingled with materials, experiences and research conducted during a workshop program with London-based performance artist Franko B. This project investigates identity and its theft through lies, fakery, superficiality, email scams and the failure of memory filtered through a re-enactment of the American artist Catherine Sullivan’s multi-channel performance-based video works Triangle of Need and The Chittendens (using the text for a review Hetherington wrote about this work, screened at the CCA for Map Magazine). Work from the Creative Lab will be presented as a work in progress at the CCA 28 April, at David Cunningham Projects in San Francisco in May and at the Edinburgh Art Festival August–September 2009. The work features a specially assembled cast of artists, actors, performance artists and musicians, including Mikaela Skosberg, Janie Nicoll, Lewis Holleran, Chris McCann, Cath Whippey, Leo Glaister, Josephine Hutton, Stephanie Black, Claire Dyer, Catherine Docherty, Mhairi McLellan among others.

http://atriangleofneed.blogspot.com/

http://www.a-n.co.uk/interface/reviews/single/414472

http://www.mapmagazine.co.uk/index.cfm?page=984F1E34-BDF5-2379-71075D0184E53D92&articleid=194

CCA Cultural Tenant Applications are now open

06 Apr 2009 00:00:00 GMT

We currently have a space that will be available from August 2009. If you are interested and would like to be considered please fill in the application form available to download on the left of this page, and return it to CCA by noon on 30 April.

If you have any questions about the application process or would like to view the space please contact Bec Carey-Grieve on 0141 352 4900 or bec@cca-glasgow.com

Creative Lab: moves09 commission

02 May 2009 00:00:00 GMT

Jason Akira Somma will spend 2 weeks in residence in Glasgow at the CCA working with local dancers to develop his new film work, "Everything in Time" (working title). From the permissive passions of youth to the unpredictable restraints of age, "Everything in Time" explores notions of freedom within the vessels we all live within. His commission will premiere at the opening night of the moves09 festival on 23 April

www.movementonscreen.org.uk

JASON AKIRA SOMMA
Jason is a practicing choreographer, director, and photographer in NYC. Experimenting on ways of transcending dance from the ephemeral state on stage to the walls of galleries. He is the first American to receive the Rolex Mentor Protégé Award for dance and will be collaborating with the Legendary Jiri Kylian for the Nederlands Danse Theatre’s 50th anniversary show. Jason has danced for Bill T. Jones/ Arnie Zane Co. and the Sara Pearson/Patrik Widrig Dance Theatre Co. among others. His dance film work has been featured on the Sundance Channel, Independent Film Channel, PBS, NY Dance Film Festival, MTV Europe, American Dance Festival, Dance Theatre Workshop (NYC), Seoul (Korea) Film Festival, SPEX Magazine (Germany), and Impulz Tanz Festival in Vienna. His photography and film work have also been featured in The Deitch Project, P.S. 1 (MoMA), Robert Altman Gallery, Chrysler Museum of Art (Norfolk, Va.), the Anderson Gallery (Richmond, Va.). His photography work has also been featured in numerous periodicals and magazines in the U.S. and Europe to include the New York Times, Dance Magazine, Dance Europe Magazine, Village Voice, Time Out NY, and LA Times to name a few.

Here is a link to some work samples:
http://www.rolexmentorprotege.com/en/dance/jason-akira-somma-work-sample.jsp

Here is a link to his photographic work:
http://www.pbase.com/jason_somma/image/95339933

And here is a link that explains how he came to do what he does:
http://www.rolexmentorprotege.com/en/dance/jason-akira-somma-self-portrait.jsp

DANCE HOUSE CREATIVE LABS @ CCA
Monday 2 – Friday 8 May
Robbie Synge and Julie Cleves
Robbie and Julie’s diverse backgrounds influence their work. Robbie has trained in martial arts, as well as practising Breakin’ and Julie has extensive experience in visual arts and drama. Using these to build on their contemporary dance practice, their work continues to evolve from their relationship with one another. In this lab they will focus on the personal strategies they use in reacting to and dealing with events and situations. Learning about each other’s worlds, real or fantastical will be the starting point for movement, setting out with many questions: Can we create one world? Do we want to? What are our differences? Looking on the bright side – do we, should we and why?

Monday 11 – Friday 15 May
Liz Ranken
During this lab Liz will work with director and performer, Sinéad Rushe (out of Inc) to develop movement material for Blast, a multimedia script looking at a violent sexual crime. It explores the true impact of trauma, and what life enhancing lessons can be learnt. The team will look at depicting violence, working with fast danced foot sequences and sound triggers, mixing the rhythm of the footwork with the rhythm of the text. Site specific locations will be explored, either as performance locations, or with a view to bringing images and sound back into the studio. Site and visual context will provide an emotional metaphore.

Liz is looking for performers of any age to join this lab (male and female) who can handle text, and have rhythmical footwork skills eg Irish, Scottish dancing, tap, clog, Flamenco. If interested please send an outline of your experience to: karen@dancehouse.org

Monday 18 – Friday 22 May
Roseanne Irvine
During this lab Rosanna will be exploring notions of ‘affect’ in developing scores for performances. This will be approached through cultivating states of embodied thinking and through translating felt experiences into movement scores. She will also explore how camera movement might be scored so as to be a participator, distinct from an outside viewer, in the developing material. This research is part of Degrees of Freedom, a choreographic research project which explores themes of responsiveness and freedom, and which questions how much can be left ‘open’ in a work. This is an ongoing and evolving project which to date has existed in two versions with other possible translations soon to emerge. Each version responds to the particular group of performers and the particular place. Rosanna trained at Amsterdam Theatreschool and later trained extensively in Ki-Aikido. Her work has been performed in Amsterdam, New York and London and Rosanna previously danced with Rosemary Butcher Dance Company. Rosanna was born in Glasgow, but currently resides in Devon where she is associate lecturer at Dartington College of Arts

Dancers are invited to participate in the lab. Please send a brief CV outlining your experience and interests to rosanna_irvine@hotmail.co.uk

Monday 25 – Friday 29 May
Gail Sneddon
During this lab Gail will be developing a new work based on a study into Dissociative Identity Disorder (DID). DID is a psychological defense mechanism resulting in a condition in which a single person (host) displays multiple distinct identities and personalities (alter), each with its own pattern of perceiving and interacting with the environment. From her initial research she found that there is a recurrent theme of images that people with DID resonate with. The host images are wide open, bleak, barn-like landscapes of varying sorts, but the alter images were human, fleshy, body, animated and morphic. During the practical research Gail will be using choreography, computer graphics, spatial design and sound to find visual representations of the person in both their host and their alter states. This creative lab will be the initial step towards creating a multi screened audio/visual experience. www.gailsneddon.com

Violent Participation

01 Jul 2009 00:00:00 GMT

Open to the public Tuesday 28 July, 7pm-9pm.

Natalie Lambert will spend 4 weeks in residence at the CCA, exploring wilfully unstable and continually open-ended works, which address the nature of our social texture and blend with the basic flow of human actions. She will be investigating synthetic situations that allow the spectator to unwittingly alter the work in potentially violent acts of participation. The works, which aim to highlight social responsibility, are often installed in transitory spaces, with the intention of sparking interactions between the audience, or ‘actors’. It is this relational aspect that inspires Natalie’s process, as much as creating embodied experiences for the spectator.

These kinetic installations encourage us to engage our senses, and to explore, interact and discover art in unexpected and untraditional ways. A distinctive characteristic of the work is that it challenges not only the intellect but also our body and psychology, innate parts of the human being outwith their control. Her works scheme to participate with the audience; activated when people are present, passive without them. These works respond to the environment and everyday interactions in space, placing the museum in a borderline situation: between that of being the mediator of works of art and being a work of art in itself.

www.natalielambert.co.uk

LET THE DOGS EXERCISE ON THE GRASSED ATLAS

03 Aug 2009 00:00:00 GMT

Artist Robert Bidder spends three weeks in residence at CCA.

"As I was growing up, T.V played a big part in my life - I watched cartoons, and puppet based programs especially, whenever I could. Now I haven't had a telly for several years but I think Youtube and IPlayer have replaced any gap that may have been left.

For my time at the CCA I am going to try and make a T.V program, I'm particularly interested in children's programming that becomes acceptable for adults to enjoy and vice versa. There seems to be many reasons why some programs make this crossover and I will be bearing these in mind as it all comes together.

You can see some things I've done in the past and some videos at www.youtube.com/varnishface , or you can listen to some music I have done at www.myspace.com/teatoastband."

They Are Here

01 Sep 2009 00:00:00 GMT

They Are Here is a London-based collective practice led by Harun Morrison and Helen Walker. Different projects involve liaising with various artists and non-artists in shifting collaborative models. They Are Here work across media and types of site, having shown work in theatres, galleries, online and in public spaces. The institutions they have developed or presented work include Tate Modern, South London Gallery, LIFT (London International Festival of Theatre), Whitechapel Gallery, Battersea Arts Centre, Man & Eve Gallery and Camden Arts Centre.

They Are Here invite a high level of interactivity on the part of their audience/attendees. They often take populist systems or experiences (Myspace, a film promo launch party, a haunted-house) as a framework for ideas. These ‘constructed situations’ may involve the participants engaging with a narrative or game external to the event itself to unlock it.

During their residency They Are Here will a) develop the 4th stage of their ongoing Twins Research Project and b) initiate a new body of work exploring the nature of video, memory and reconstruction under the working title The Witness Research Project. There will be daily opportunities to take part in these experiments. If you are interested please contact us at theyarehere@live.co.uk for more information.

Image: Hider in the House, 2009 (Battersea Arts Centre: a collaboration with identical twins Ayo and Oni Oshodi, who communicated with the public from behind a locked door.)

Oblivia

01 Oct 2009 00:00:00 GMT

Entertainment Island 2 is a hilarious take on lifestyle where local culture meets global. The performance is the second part of the trilogy that forms Oblivia’s three year project Entertainment Island on popular culture and entertainment.

Information: info@oblivia.fi / www.oblivia.fi

”There we were feeling like strangers out in the countryside baffled and bemused. The open landscape held a hint of claustrophobia, the silence became deafening. Only the gas station showed signs of life. After too many failed attempts at recreating local activities we were at a loss.

”We returned to the drawing board, where we realised that the combination of slow paced townhall gatherings and soap opera style dramas revealed a sinister side of popular culture and entertainment, where vulgarity and violence prevailed.

”The constant bombardment of moving images juxtaposed with passivity of mind uncovered a new approach. We embodied the fuzzy quality of bad television. A series of commercial breaks, wild west, super heroes, shoot outs, feel good, seedy bars and corrupt affairs rushes past, leaving all but a trail of pulp”.

Performed and devised by Timo Fredriksson, Anna Krzystek, Annika Tudeer. Lights by Meri Ekola, sound by Juuso Voltti. Produced by Kiasma Theatre, Oblivia. Supported by: CCA, Glasgow, UK, PACT-Zollverein (D).

Entertainment Island is Oblivia’s project 2008- 2010. Through means of a performance trilogy, film, photography, seminar and text, Oblivia will scrutinise the manifold world of entertainment and popular culture. Entertainment Island in its entirety will be launched in 2010. Kiasma theatre hosts the project. The first part Entertainment Island 1 has been successfully performed in Denmark, Romania, Germany, Iceland and the UK.

Founded in 2000 in Helsinki, the international performance company Oblivia is a unique force on the Finnish performance scene.

Oblivia's collectively devised, interdisciplinary and minimalist performances merge the boundaries of art forms and nationalities.

The background of Oblivias members from Finland, Iceland and UK are in performance art, music, dance and theory. This mixture of backgrounds and nationalities creates a vibrant and special tension and humour in the work. From the beginning the core members have been working together creating a common performance language. Guest collaborators are invited to partake in individual projects.

Oblivia is part of the Produforum network based at Korjaamo in Helsinki. In spring 2007 Oblivia received the Stina Krooks Award for its long standing commitment to developing work between theatre and conceptual art. Oblivia is house artist at the Kiasma Theatre from 2007. Entertainment Island is supported through residencies by PACT Zollverein, Essen and CCA, Glasgow.

Marketing and PR Internship

21 Oct 2009 00:00:00 GMT

CCA is offering a six-month Marketing and PR internship commencing in January 2010. The successful applicant would help contribute towards all marketing and PR campaigns for the venue and events. It could also involve carrying out specific projects on your own.

You must be available to work at least 1-2 days per week. Interviews for this Internship will be held early December 2009.

To apply please download the application form from the menu on the left or email kirsty@cca-glasgow.com and complete and return it to Kirsty Gordon by noon, Friday 13 November 2009. Late applications will not be considered.

Marketing and PR Internship Role Description:
This role is designed to offer an intern insight and experience in arts marketing and public relations.

Duties of the Role
The Marketing and PR Intern will be responsible for helping the Marketing Manager with tasks including:

• Copywriting for website, brochure and e-marketing
• Distribution of flyers and other promotional material
• Updating of CCA website
• Compiling and distribution of press listings
• Updating of press contact databases
• Researching possible avenues for publicity opportunities
• Sourcing and updating databases and mailing lists
• Occasional writing of press releases
• Audience development tasks as set by the Marketing Manager
• General marketing administration
• Basic graphic design and image editing
• Web 2.0 and Social Media updates and strategic development

Hours Worked
This is a volunteer role for 7 to 14 hours per week over 2 days. A regular weekly pattern to be agreed with the Marketing Manager.

Position in the Organisation
Reports to the Marketing Manager

Salary
This is an unpaid role. Complimentary passes to some CCA events may be provided.

Person Specification

Essential:

• An interest in the arts, marketing and PR
• A self starter with confident, positive and helpful disposition
• Strong written skills
• Ability to work to deadlines
• Knowledge of and experience working with Microsoft office
• A flexible approach to work
• Ability to work in a team and using own initiative
• An understanding and commitment to equal opportunities

Desirable:

• Ability to think creatively
• Experience of Adobe Creative Suite (Photoshop and Illustrator in particular)
• Experience of working in an office environment
• Experience of working with people

Application deadline: Noon, Friday 13 November 2009.

For further information, please contact kirsty@cca-glasgow.com or on 0141 352 4900.

Creative Lab - Call for submissions

29 Oct 2009 00:00:00 GMT

We are inviting submissions from artists to explore new ideas and methods in the Creative Lab space.

Artists working in the live art, contemporary performance, new theatre, time-based media and interdisciplinary arts sectors are invited to submit proposals to be considered for a CCA Creative Lab.

Creative Lab objectives:

An opportunity for emergent and established artists to have time for process, rather than focusing on final product
To give artists an opportunity to show their investigations to the public for feedback
Networking opportunities

General information:
The Creative Lab space at the CCA is a light and versatile room approximately 7 m x 11.70m. Support for the Creative Lab can include use of a small residential space to sleep one person (depending on availability). Technical assistance for sound and lighting can also be requested. The CCA may also be able to assist with mentoring, administrative or other production needs. Applicants should make it clear in the submissions if their Creative Lab would depend on technical or other provision. CCA has £500 allocated for each Creative Lab (which has to cover any production or technical costs for in-progress showings etc).

Dates:
12 slots, up to 4 weeks each, April 10 – March 2011
The time slots for the Creative Lab space are on a fixed diary. Please let us know your preferred month from the list and we will notify you of the closest available slot.

Selection process:
Applications from artists based in Scotland will be particularly welcome.

General criteria:

Time spent must be on development of the artist's own, original work
Creative Lab time is for research rather than rehearsal time
We are primarily looking for artists who are unable to fit easily into theatre, poetry, dance as traditional categories. The focus is on the contemporary artist who specialises in the realisation of ideas, rather than pursuing a specialism
Artists will be required to share their work in an open studio day, an artist’s talk, and a work-in-progress performance or in a format to be discussed with the CCA.
Artists must also help with evaluation and provide appropriate documentation of their Creative Lab.
Artists must conform to CCA’s Health & Safety rules and regulations
Equal Opportunities will be employed in the selection of these labs in line with CCA’s policies

To submit a proposal:
We would like a brief (maximum 2 sides) description of the work you would like to investigate, including the conceptual basis, content, art forms used, and how much time you would need. Please include your CV and list of artist’s experience and any supporting material or documentation on video or DVD.

Deadline: 14 December 2009

Send proposals to:
Creative Lab
CCA
350 Sauchiehall Street
Glasgow G2 3JD

Enquiries: gen@cca-glasgow.com

Photo: Linda Franke, from 2008 – 2009 Creative Lab Residency