Application Open March 12, 2019
Application Deadline April 10, 2019
SAKIYA Open Call welcomes proposals for sitespecific interventions across the fields of art, science and agriculture. Proposal dates are rolling however, our deadlines are designed to allow us to bring together interventions from multiple practitioners that resonate together as a means to foster dialogue and discussion. Sakiya’s selection process favors proposals that are anchored in research and process-oriented ecological practices within the context of our site. If needed, applicants can request materials from Sakiya such as AutoCAD drawings, drone videos, photos, eco survey materials, etc.
1- Concept text (500 words max)
2- Visuals such as sketches, collages, etc. Maximum 4 JPG files
3- Material and equipment list
4- Estimated budget
6- Proposed location for the artwork
Artists are invited to register for a site visit on one or more of the site visits organized for the Open Call on Fridays: March 22 and 29 and April 5 at 1pm.
Please email applications to firstname.lastname@example.org and include ‘Sakiya Open Call’ in the subject line.
Artifact and Fiction:
Considering the politics of display, artists can ponder the “artifacts” we have collected during the renovation process of Sakiya’s site and engage with them in novel ways. We are interested in reorganizing and reconsidering objects and archives as magical amulets to tell another narrative. Found objects include glass, ceramic, metal pieces. Artists are encouraged to use the sediment, tree trunks and branches, plaster pieces that were collected as a result of the shedding/ exfoliating/ removing of parts of the building during the renovation process of our historic site.
The history of time cannot be separated from the rhythms of nature. Ritual, agriculture and calendars follow a history of standardizing time and measures. Can art in the age of ecological crisis and shifting natural cycles re-imagine these standards? We ask for proposals that reconsider this consistent spectrum through which we measure time. Through artistic interventions that amplify the audible, inaudible, visible and invisible metabolisms of nature we seek proposals for alternative time machines.
Visualize Art as a Growing Field:
A great work of art can delight, enchant and inspire a feeling and interconnectedness with nature though sensory experience. As such many cultures around the world consider garden design as one of the highest forms of art. Drawing upon these legacies we invite artists, ecologists, permaculturalists, geologists, both professional and amateur, to engage with the hundreds of perennial and seasonal plants at Sakiya. Consider of the topology Sakiya’s unique re-wilded site interspersed with terraced farms, dry stack walls, pathways, water features, microclimates as well as the plants themselves to make living canvases that bring together the medicinal, edible, and decorative flora of our site together in symbiosis.
Starting from Stone:
The art and craft of stacking stone to build walls and shelters without mortar ties together cultures around the world and yet this art form and the knowledge of its practice are quickly fading. We invite artists who work with stone to create works of art in collaboration with our resident stonemasons. This artistic and research open call will investigate the thermal and structural properties of ‘Sanasel’ (dry stack stone walls) and ‘Mintar’ (dry stack summer field home) structures though the collective practice of this ancient art.
Spaces within traditional Palestinian homes with vaulted ceilings and groins have particular acoustic properties that cannot be separated from the stories told within them. In addition, our site has a number of caves and naturally occurring limestone and dolomite resonant chambers (karst) formed over thousands of years with particular resonant frequencies as well as flowing water, underground cisterns and a steady western wind. We invite sound artists, storytellers, and musicians to make the invisible visible by engaging acoustically with our site both interior and exterior.
Supported by the A. M. Qattan Foundation through the ‘Visual Arts: A Flourishing Field’ Project, funded by Sweden
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