As a workplace for visual artists, FLACC creates the organizational, technical and artistic conditions for the realization of original artists’ projects. To this end every year the organization selects a maximum of ten artists – from Belgium and abroad, young and experienced - to set up a new project. In so doing the organization endeavours to strike a balance between creative and research projects and artists who focus more specifically on the centre’s historical, geographic or social context.
FLACC has metal and woodworking workshops, a digital studio (film and photography) and a studio with kilns for ceramics. You can download an overview of the facilities from this link: http://www.flacc.info/en
Call for Applications
Who: visual artists working in a variety of media and disciplines are invited to submit project proposals along the lines set out below.
Where: FLACC, Genk in Belgium
When: a continuous period of maximum three months, or approximately 90 days spread over different periods between January 2014 and December 2014
Deadline: 1 March 2013
The call is open to all visual artists. Owing to the diversity of our workshops, the application is open for projects in various media and disciplines. In 2013 FLACC is launching a research programme lasting several years. It will take changing artistic ‘labour’ as its starting point and study the artistic calling by means of a historical analysis. That analysis will be taken as the basis for the central question: is the artists’ workplace in its present form still the most appropriate instrument to support artistic production. The open call only invites projects, which respond to this and the following themes, namely the artist as entrepreneur, the relation between artist, labourer and entrepreneur and the relation between arts and science.
This cluster focuses on the complex position of the contemporary artist. Now that it is possible for one and the same artist to work according to the old, romantic pre-industrial studio system and at the same time to spearhead an industrially equipped studio, a relationship of complementarity is produced between concept and realization, mass production, and (pseudo)craftsmanship. The historical concept of the artist’s genius is still very much alive, but with one important addition: this kind of artistic practice requires firm managerial skills.
This already indicates that traditional distinctions between artist, worker and entrepreneur are no longer pertinent. An artist is also an entrepreneur, and often his own worker as well. At the same time, new technologies brought along new possibilities to outsource production, and production of small series has become considerably cheaper. These developments have put diverse economic models and modes of production within reach of the artist, which may on the one hand result in new possibilities of expression, while on the other hand it puts pressure on the artist to take on an entrepreneurial role. While the first cluster is dedicated to investigating historical roles and models, this cluster researches new models and opportunities. This includes attention to issues of material decay and conservation, the temporality of art, authenticity and the lesser quality of serial production.
These new models of artistic practice have close connections to other segments of society, such as academic research, and this may lead to new forms of cooperation in which the artist teams up with scholars for the purpose of joint research, creating work that has its foundation in scholarly investigation. Another connection is the collaboration between artist and industry, which was investigated and employed by the Arts & Crafts movement and Bauhaus, a collaboration which the recent attention for the creative industry has once again brought into the spotlights. Creative industry is put forward as a catalyst, a force for innovation that may transform existing industries. Is this a utopian dream or a realistic scenario?
The artistic practices mentioned above usually require considerable sums of capital, which is not within reach of most artists. This is certainly true of young artists, who even under the best of circumstances will not yet be able to convert their creative output into financial capital. FLACC provides young artists the opportunity to work within these models and to realize a creative output that enables them to continue working in similar systems in the future.
The work period is maximum three months fulltime or approximately 90 days spread over the period January 2014 to December 2014. As well as technical, organizational and artistic support, FLACC offers the artists a workplace, accommodation, travel expenses and a small production budget.
The results of all the artists’ work periods will be presented to an (international) project partner at the end of 2014 or early 2015.
Please use our application form and excel sheet (fill in required budget) to apply. The forms can be found on our website: http://www.flacc.info/en/opencall. The application should include a well-defined project proposal, a thoroughly calculated budget, a preferable time frame and your résumé (text and images and/or video).
For more info please visit www.flacc.info or contact Luuk Nouwen or Sarah Indeherberge at [Masqué].