**10×10 Photobooks** is pleased to announce a new grant cycle and call for applications as part of its ongoing photobook research grants program to encourage and support scholarship on under-explored topics in photobook history.

For this cycle, we are looking for submissions related to 10×10’s recent **_Flashpoint! Protest Photography in Print_** project. In particular, we invite proposals relating to photobook history from any geography that addresses topics of protest, resistance, or social and cultural conflict from 1950 to the present. The past seventy-five years have been a time of extreme social and cultural transformations including migration, territorial disputes, gender inequity, class divisions, racism, war, and violence, environmental concerns, and other ideological and tribal conflicts which photobooks have engaged with as a tool and/or document of protest.

  
The concept of the photobook is interpreted in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines, digital media, scrapbooks, posters, or other ephemera. The evaluation of proposals will consider the importance of the proposed topic (how significant and/or unknown is the subject) and the strength of the proposed approach.

  
**Grantee Expectations**

Grantees are expected to produce a presentation (and optionally a paper) within a year of the grant being awarded. Material needs to be in English. The result of the research will be presented and discussed during an online zoom event organized by 10×10 Photobooks.

10×10 will also assist where able and desired with in-progress review, identifying information, making introductions, etc. 

**10×10 Photobooks will award three grants this cycle for 2025-2026 in the amount of $2,500 each**, which will be paid in two increments during the course of the project.

10×10 Research Grants — Call for Proposals

Radford University Art Museum is seeking proposals for exhibitions to be held from 2025 to 2028 in our three main campus galleries, Tyler Gallery (214 Tyler Ave.), Covington Gallery (a premier, vaulted space in the Covington Center for the Arts), and the ARTIS Center gallery (room 302) adjacent to the Dean’s Suite in the brand new Adaptive Center for Innovation. 

  

Exhibition in Radford, VA.

  
Compensation and lodging arrangement stipends vary from **$0 - $5,500** depending on time frame, the nature of the work, travel distance and an artist talk/workshop.

Call for Exhibition Proposals

ARCUS Project’s artist-in-residence program provides opportunities for artists in the field of contemporary art to cultivate their artistic creativity and vision. Located around an hour from Tokyo, a residency at ARCUS Studio allows participants in the program to come into contact with the contemporary art scene in Japan as well as devote themselves to their creative endeavors in a calm environment while interacting with the local community. Through the support the program offers from its dedicated team of coordinators and regular tutorials with a curator, artists are able to search for and explore approaches in their practices and undertake new challenges in their artistic expression. The program particularly emphasizes research-based practices and presents the initial results of these processes at open studios. It welcomes ideas for artworks and projects that develop out of encounters with people, the land, and culture, and aspire to form critical spaces that are open and international.

  
Program period: August 29–November 26, 2025 (90 days)

Studio, accommodation, round-trip airfare, living and research expenses (540,000 JPY), as well as support from a director and coordinators.

2025 IBARAKI ARTIST-IN-RESIDENCE PROGRAM

On the occasion of the AI Action Summit, Villa Albertine, The French Institute for Culture and Education in the United States, is launching Arts in the Age of AI, a new exploratory residency program in the U.S. at the intersection of art and emerging technologies.

Between January and December 2026, four creators or cultural professionals with a project related to artificial intelligence will benefit from a two-month research and exploration residency in the United States, supported by Villa Albertine. This program is set to continue in 2027 with four additional residencies, bringing the total number of residencies over two years to eight.

This program aims to stimulate innovation, reflection, and French-American collaborations by promoting exchanges with a diverse range of stakeholders: universities, businesses, artists, residents, public officials, and cultural institutions.

Villa Albertine’s Arts in the Age of AI residency is launched in partnership with and possible thanks to the primary sponsorship of Franco-American Patron and Technology Leader Fidji Simo.

The laureates will join the cohort of the 2026 Villa Albertine residency program, which will celebrate its fifth anniversary.

Villa Albertine will cover the travel and accommodation expenses related to the residency, according to the following terms:

* A residency stipend for daily expenses (e.g., meals, local transport). For reference, this stipend is $100 per day in Washington, D.C.
* International flights
* Housing
* Car rental, if necessary for the project (e.g., in large sprawling cities or as per the necessity of the project).
* Health insurance, liability insurance, and repatriation coverage.

These expenses are covered directly by Villa Albertine and are not subject to a lump-sum grant payment.

2026 AI and Artistic Creation Residency 

The AXA Art Prize US is a juried art competition open to undergraduate and graduate art students in the US. 40 finalists are selected for a virtual exhibition and in-person exhibition in NYC with two grand prize winners: First Prize of $10,000 and Second Prize of $5,000.

First Prize: $10,000 cash prize

Second Prize: $5,000 cash prize

40 finalists will be selected to exhibit their work in NYC at the New York Academy of Art in November 2025.

AXA Art Prize 2025

In collaboration with the Collaborative Research Centre ISOQUANT at Heidelberg University and the Niels Bohr Institute at the University of Copenhagen, Art Hub Copenhagen invites artists to apply for a six-month residency exchange programme that brings together artists and quantum physicists. Deadline for applications is Wednesday 26 March 2025.

  
In recent years, the intersection of art and science, particularly physics, has gained increasing prominence in artistic practices and exhibitions. This residency aims to build on that momentum by fostering creative dialogue between artists and leading international researchers in quantum physics.

  
By breaking down the traditional boundaries between scientific inquiry and artistic exploration, we aim to inspire new ways of thinking and to encourage cross-disciplinary discoveries. This programme offers artists and scientists a unique opportunity to collaborate and challenge one another and generate innovative insights and new knowledge for both fields.

  
Duration of the residency is 6 months (residency) + 6 months (follow-up programme including curatorial sparring and exhibition preparation) starting in Fall 2025.

**Stipend**: Artists will receive a monthly stipend (2.000€) to cover living expenses during the residency period (first 6 months of the program). If childcare is needed, we offer access to facilities at Heidelberg University.

  
**Accommodation**: Art Hub Copenhagen will facilitate finding a rented room/apartment practically located in Copenhagen and cover the costs. The CRC ISOQUANT will offer and cover costs for accommodation in a fully equipped apartment centrally located in Heidelberg.

  
**Workspace**: Art Hub Copenhagen will offer a studio and access to workshops, including metal, wood, printing, assembly, and digital workshop facilities. Moreover, Art Hub Copenhagen will assist in finding other relevant production facilities if needed. The CRC ISOQUANT will grant full access to all university research facilities, laboratories, and a shared office space. Heidelberg University will provide working facilities specific to the hosting institutes.

  
**Travel**: The programme covers round-trip travel between Copenhagen and Heidelberg, with an emphasis on eco-friendly options such as train travel. Additionally, local commuting in Heidelberg and Copenhagen will be facilitated and covered by ISOQUANT and Art Hub, respectively.

  
**Events and Public Presentation**: Art Hub Copenhagen and ISOQUANT will take full responsibility for organizing and funding events during the residency, such as artist talks, as well as the final public presentations of the works in Copenhagen and Heidelberg. This includes covering the costs of supplies and materials for the artworks (up to 5.000 €), an exhibition fee of 2.500 € per exhibition, and transportation costs for both the artworks and the artists. Additionally, exhibition-related costs, such as room rental and materials, will be covered (up to 2.500 € per exhibition).

  
**Publication Opportunities**: Both institutions aim to produce a joint publication at the end of the program and will also encourage and support the development of online publishing formats.

OPEN CALL :  SciArt Residency

**This grant, mentoring and scholarships programme aims at addressing the shortage of local independent journalism by administering grants to local investigative journalistic projects in Europe and stimulating cross-border collaboration.**

  
This programme will:

  
* Stimulate local journalists and (small) news outlets to conduct investigative journalism and learn from colleagues in other countries, creating a European network of local (investigative) journalists in the long run.
* Stimulate local journalists and news outlets to compare with other regions and cities in other countries that face similar problems or challenges, which are eminently European issues.
* Increase the dissemination, reach and impact of local investigative journalism.

  
The grant programme will be open for **teams of local investigative journalists and/or local media outlets** from at least two different European countries who have good ideas for a local cross-border investigation. For example: journalists and/or news outlets from different comparable cities investigate how their cities cope with e.g. housing, waste, tourism, mobility, etc.

  
The project should be one that, in principle, could not be realised in this format within the remit of regular journalism – a project that can include cross-border research, networking between colleagues, established and **innovative investigative methods** and that is at the same time original, innovative and intensive.

In 2025 the total grant budget is €365,000 to distribute over two application rounds. For the next deadline we have €250,000 to distribute.

  
A grant can cover two types of costs:

  
**Working time** of the journalists to conduct their investigation. (**_please note: working time will need to be substantiated with a timesheet_**)

  
**Expenses**:

  
* Direct investigation expenses such as travel, visa, accommodation, translation, fixers, access to pay-databases, freedom of information (FOI) requests, legal screening, insurance, etc., ...
* Following expenses **cannot** be covered by the grants: overhead, office costs, investments goods (such as IT hardware, mobile phones, cameras, software …), production costs, recoverable VAT, food and beverage, per diems.
* Grantees must minimize unnecessary travel, particularly air travel. Our policy is to only make essential trips and to champion alternative ways of collaborating with others. This saves time and money, and reduces greenhouse gas emissions (that contribute to global heating). We ask that our grantees do the same for the work that we fund and report to us on the air travel they make.
* The grant can only cover costs for _research_, not for production.

European Local Cross-border Grants

ISVC Website: https://cicamuseum.com/isvc

  
September 10 – 28, 2025 Exhibition “Visual Culture 2025” at the CICA Museum, Korea

  
September 20, 2025 International Symposium at the Cultural Arts Center and the Cafritz Foundation Arts Center, Silver Spring, MD, USA

  
Organized by CICA Museum

Hosted by the Visual and Performing Arts Department, Montgomery College
  
  
We invite artists, scholars, and researchers from around the world to participate in the International Symposium for Visual Culture & Exhibition 2025\. This global gathering of artists, researchers, and academics will take place in downtown Silver Spring, Maryland, near Washington, D.C., and will be accompanied by an exhibition at the CICA Museum in Korea. The symposium is hosted by Montgomery College’s Visual and Performing Arts Department and organized by the CICA Museum.

  
ISVC is an international platform for diverse and critical perspectives on visual culture. Through ISVC, we aim to create a global network of researchers/artists and consumers/makers of visual culture, and foster critical thoughts and in-depth understanding of visual culture on a global scale.

  
Participating artists and researchers will be featured in the book “New Media Art 2026.” The book is expected to be released in full-color paperback in December 2025\. The article may include any form of text (e.g., interview, essay, poetry) in English, drawings, and pictures that introduce the artists’ works.

  
\*Categories & Keywords:

  
\-Art and Politics

\-Art and Capitalism

\-Art, Technology, and Culture

\-Artificial Intelligence and Humanism

\-Originality, Authorship, and Copyright Issues

\-Digital Humanism

\-Post-humanism

\-Environmental issues and Culture

\-Race and Identity in Art & Culture

\-Feminist Studies on Visual Culture

\-Art & Culture in a Global Pandemic

\-Nationalism and Visual Culture

\-Digital Culture and Social Media

\-Mass Culture

\-Critical Studies

\-Globalism

\-Postmodernism

\-New Media Art

\-Digital Nomad

  
\[Symposium\] International Symposium for Visual Culture (ISVC) 2025 in Silver Spring Maryland

The symposium will be held on September 20, 2025 at the Cultural Arts Center and the Cafritz Foundation Arts Center, Silver Spring, MD.

  
Every artist/researcher of an accepted proposal will be provided with an opportunity to discuss the merits of his or her contribution with peers. It is required that the presenter will register for the symposium and present or perform in a session. We are open to proposals for paper presentations, workshops, experimental sessions, as well as artistic performance.

  
Three general admission tickets to ISVC 2025 will be provided for the Presenter/Team so that they can invite guests. Additional tickets will be available to purchase via ISVC website in the future.

  
\* Montgomery College students will receive a free guest pass to the symposium, while faculty and staff will get a 51% discount on registration as presenters or guests.

  
\[Exhibition\] “Visual Culture 2025” at the CICA Museum

The international exhibition “Visual Culture 2025” will take place at the CICA Museum from September 10 to September 28, 2025\. Artists who register as presenters may showcase up to two works in the exhibition.

  
\*Installation:

  
– Photographs & 2D Digital Art

  
Selected works will be printed in 10×15 or 10 x 10 inches, framed, and installed by the museum curators & assistants. If requested by the artist, works can be printed and framed in larger sizes. Additional fees may apply.

  
– Video & Interactive Art

  
The museum will provide projectors and DVD/DIVX players for the show. Multiple single-channel works will be screened through a projector. The museum curators & assistants will install your work(s) according to your installation guidelines. If the work is required to be screened through a projector exclusively, or more than two projectors/monitors are needed, please indicate the special requirements in the submission email. Additional fees may apply.

  
– Physical Work & Installation Art

  
The artist is responsible for the shipment and delivery of his/her physical work to and from CICA Museum, as well as all related expenses. The two-dimensional work should be no larger than 39 inch (1 m) on the longest side, and the installation piece should be no larger than 39x39x79 inches (1 x 1 x 2 m, w x l x h). The work that needs to be mounted on the wall should not exceed 10 kg. Please indicate in the submission email if you are interested in exhibiting works exceeding the size/weight limit.

  
\*Timeline:

  
March 28, 2025 Submission Deadline

April 4 – 11, 2025 Presenter’s Registration

September 10 – 28, 2025 Exhibition “Visual Culture 2025” at the CICA Museum, Korea

September 20, 2025 International Symposium at the Cultural Arts Center and the Cafritz Foundation Arts Center, Silver Spring, MD, USA

December 1, 2025 Expected publication date of “New Media Art 2026”

\*\*\*The schedule is subject to change.

  
\*How to submit your work: Please visit our website for more information.

https://cicamuseum.com/call-for-submissions-international-symposium-for-visual-culture-exhibition-2025/

  

Call for Submissions: ISVC & Exhibition 2025

Technology is transforming every aspect of our lives, from the way we communicate to how we create and experience art. Advances in AI, digital, and interactive systems are constantly pushing creative boundaries.

**Beyond Interface and Prompt** is a forthcoming juried multimedia art exhibition that explores how technology transcends its role as a mere tool to become a dynamic medium in contemporary art. We invite artists across all disciplines to consider how digital interfaces, AI, interactive systems, and etc. can reshape creative expression and audience perception. The exhibition aims to showcase works that move beyond traditional boundaries — **beyond the screen interface and beyond the simple text prompt** — to create innovative and experimental experiences. In this show, technology is not just about using new tools, but about **rethinking the very fabric of artmaking.**

While we welcome submissions in **all mediums**, works that **integrate technology** in concept or execution will be given **priority in the jury’s selection and up to $1,500 in creative awards**.

We encourage entries that engage with mediums such as tech-driven installation, interactivity, mixed-reality, AI generative art, 3D printing, audio-visual environments, or any form of artistic experimentation where technology plays a central role.

The exhibition takes place at the non-profit organization – Williamsburg Art & Historical Center, aka WAH Center, a 19th-century landmark that has witnessed the evolution of art and technology across generations. By embracing new media and forward-thinking approaches, the WAH Center merges its historic legacy with art’s innovative future.

Selected artists for the exhibition are eligible for multiple awards celebrating creativity, experimentation, and excellence. Works that innovatively use technology will receive special consideration for awards. The jury seeks outstanding, tech-driven pieces that push boundaries.

All awards will be decided by the jury panel. Winners will be announced at the exhibition opening reception, and all participating artists will benefit from exposure through the exhibition’s publicity and catalog.

Awards include:

* **Excellence in Merging Art & Tech**: Awarded to the submission that best exemplifies innovative use of technology as a medium. The winner will receive a cash prize of **$500** and a feature in the exhibition catalog highlighting their work’s conceptual and technical contributions.
* **Creative Innovation:** Awarded to a work that shows outstanding creativity and risk-taking: Cash prize: **$500**
* **Emerging Talent:** Awarded to an emerging artist (within the first five years of their practice) who demonstrates exceptional promise in integrating technology with art. Cash prize: **$500**
* **Honorable Mentions:** Additional notable works may receive honorable mentions and will be highlighted during the exhibition opening (non-monetary recognition).

  

Beyond Interface and Prompt

**Rupert is excited to announce the open call for the 13th edition of the Alternative Education Programme, which will take place between 16 June and 28 November 2025.**

  
Being an artist today means developing new sensitivities, systems of care, working conditions, and forms of kinship. We steer our ship through rough waters—navigating institutional and market pressures, financial uncertainty, and a polarized political landscape. Today’s artists are expected to be not just creators, but also administrators, producers, financiers, and strategists of their practice, constantly shifting between different modes of labor. Yet, do we have the tools to embrace the many roles we must play in order to sustain our work, with confidence?

  
José Esteban Muñoz, a foundational thinker in queer theory and performance studies, describes _disidentification_ as a strategy of resistance—one that allows marginalized communities to navigate dominant social and ideological structures without fully assimilating or outright rejecting them. Instead, they negotiate, subvert, appropriate, and reinterpret. Perhaps artists, too, employ disidentification as a way of working—moving within and against the systems that shape their practice, adapting and repurposing the tools at hand. But how does this actually work? 

  
Let us begin with looking at the overlooked spaces of artistic labor—the kitchen, the toolbox, the Excel sheet, the backyard, the storage room, the delete-folder—the backstage mechanics of artistic survival. Yet these less visible aspects of practice are rarely acknowledged, let alone compensated. _The Secretary, the Shaman, the Scholar, the Lobbyist, the Publicist, and the Virtuoso_ seeks to highlight artistic practice as a complex whole, one that requires a range of skills, and to help less experienced artists find their way through it. This year’s AEP invites a constellation of fantastic accomplished tutors whose research fundamentally rethinks the self-organisation structures of artistic life and practice, the artist’s relationship to institutions, and artistic practice as a form of labour. 

  
Andrea Fraser is one of the visionaries to offer a bird’s-eye view at the artistic self within a larger ecosystem, in order to detect whether, with our choices, we resist or reproduce the status quo. She deconstructs the contemporary art field, proposing that it has fragmented into relatively segregated subfields (art market, exhibition, academic, community-based, and cultural activism)—each operating under different economies, discourses, and systems of value. Instead of a singular art world, we are agents of a complex ecosystem where struggles over power, legitimacy, and value define an artist’s position and practice.

  
A close-up view of a practice reveals that the kitchen, the backstage, or the spreadsheets may each be art forms unto themselves. But how do we embed administration into the practice or, how do we, as Kate Rich suggests, radicalise it to the degree of practice, finding magic within it? How do we resist the authority of museums, galleries, and the media whose focus almost exclusively lies on the final product? And what determines whether we remain stuck in the carousel of never-ending “boring” tasks—is it a question of class4? What conditions would allow us to work as artists differently? Perhaps, as Vijai Maia Patchineelam insists, it requires an entirely new job position, one that does not yet exist? 

  
We need to learn from one another, to displace and exchange contexts in order to reimagine our own practices anew. This year, the Alternative Education Programme is focused around nine condensed weeks of workshops, presentations and events in Vilnius, spread across six months. Additionally, the group will embark on a research trip to Brussels, to collaborate and exchange with artists’ collectives active in Belgium, including Level 5, Établissement d’en face, KASK Curatorial Studies, A.pass, and others. The programme will culminate with the final event and Rupert Journal publication in late November. We are looking forward to dedicated interdisciplinary applicants with a certain degree of experience in their practice, yet those who feel a need to question and re-invent what they know and do, and to experience collective experimental forms of learning. There are no formal requirements for the applicants’ education or experience.

  
Finally, artists need time off too—to detach themselves from the struggles of the art world and reshape their immediate contexts into something entirely different, perhaps into looser structures. Shall we cook some potatoes over an open fire? Or build a ship together, as an alternative floating space, a place for escaping the system while continuing to practice coexistence? 

**AEP Programme 2025: 16 June – 28 November**

  
Rupert’s Alternative Education Programme (AEP) is a transdisciplinary para-academic programme centred around the principles of collectivity, performativity, and criticality, embracing non-linear, decentralised knowledge. Each year, Rupert’s team selects a diverse, international group of artists and other cultural practitioners from an open call to join the six-month programme. Through workshops, lectures, research trips, peer criticism, other collective engagements, and individual mentoring sessions, participants develop and share their projects, in close relationship with Rupert’s curatorial team and guest tutors. The curriculum is part-time and compatible with other commitments. During their stay in Vilnius, participants are introduced to the local art scene, invited to take part in Rupert’s other activities and engage with the residents of the institution.

  
The participants are expected to be present on site at the collective gatherings, workshops, excursions, public events and presentations that are part of the programme in Vilnius: 2 weeks in June, 3 weeks in July-August, 1 week in October and 3 weeks in November. 2 weeks in September-October will be dedicated to the research trip and public presentation in Brussels. In between, the participants are expected to do individual research and develop their projects for the final AEP event (November) and for the publication in the AEP Journal. Throughout the whole programme they will be guided and supervised by the tutors, the curator and the Rupert staff. The language of the programme is English. The educational programme is free of charge, however, participants are responsible for their subsistence and other individual costs.

Alternative Education Programme

Discover open calls, art residencies, exhibitions opportunities, grants, awards, art jobs and more by leading art organizations and institutions worldwide.

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