Two open calls, “Art Against Racism” online and “Atlas of Affects” an in-gallery exhibit
Two open calls, one for online exhibition project "Art Against Racism" and one for a real world exhibition "Atlas of Affects." One exhibit focuses on issues of racism and social justice and the other on the emotional and personal experience of the pandemic. Both are free to participate in, and we encourage you to participate!

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Group of activist paintings that are anti-racist
Poster image from “Art Against Racism” project

The online exhibition, “Art Against Racism” (available online Oct. 3) is taking submissions by iPhone or Android, of work that is anti-racist. The project is looking for images and videos of you and of your art; and they want information about you and the photographer/videographer who documented your work; there are other optional materials you can provide, like testimonials about what inspired your art; your feelings on the importance of voting or other personal reflections. Deadline for submission is Sept. 14. The works will be exhibited online at a URL still being set up on Oct. 3, 2020. Rutgers University is providing technical support to the project. Check it out and consider participating! (No cost to submit)

“Art Against Racism” wants submissions only via a phone appCinebody, which seems tailored for groups working together on a project. You must download the app and create your materials through the app and submit to the project through the app. Below are the instructions, which you will also find at the links above:

How to participate in “Art Against Racism”:
• Download the free Cinebody app at the app store you use
◦ iPhone users click here for a tutorial on how to use the app.
◦ Android users click here for how to use the app through a web browser.
• Register in the app and enter the unique Join Code aar20 to access Art Against Racism Project. Fill out the release form.
• Watch the tutorial on making a video here.
• Record all videos through the app to ensure they are in horizontal /landscape orientation. Any videos submitted in the incorrect format will not be accepted.

Black and white photo of a black wall with a display of images and books
Detail from Aby Warburg’s “Ur-words of the Affective Language of Gestures,” (1927).  Courtesy of the Warburg Institute, London. Image courtesy of Slought

Slought announces an open call for personal items — art, writing, photographs, memorabilia — that represent the emotional effect of the pandemic, from tears to joy and everyplace in between.  In order to participate, send your image(s) along with text that explains the context of the image(s). The exhibit, which will be in Slought’s gallery, opens in late September, so get your materials in ahead of that (there’s no deadline listed at the website). More information below.

Atlas of Affects
Slought invites your participation in “Atlas of Affects,” an exhibition in the Slought galleries of material traces, media artifacts, artistic projects, written texts, and other representations of the pandemic, opening in late September 2020. Anyone is welcome to contribute to the archive, so long as their submission concerns an affect of this moment. By “affect,” we mean a personal experience—such as fear, anger, disgust, shame, desire, joy, or love—that is reflective of societal trends and political realities. Join us in archiving your affective experience of the pandemic by sending us submissions to info@sloughtfoundation.org along with a short contextual description.

Perhaps the most universal response to the experience of confinement, mass death, and state violence is the desire to document it, represent it, and, in so doing, remember the offense. In part, the news media does this for us; we are not in danger of forgetting the global scale and elongation of these crises, at least not yet. But what journalism has largely failed to cover is the space, time, visuality, and feeling of the crisis itself. Events are, of course, unfolding all around us, their occurrence traced in our diaries and correspondences; in the recollection of friends and family members lost to the virus; in the anguish of everyday decisions about risks of exposure; in the financial ruination and desolate downtowns left in its wake. Still, we wonder: who is recording the emotions and affective experiences of this moment in time? The stories of pain, isolation, struggle and solidarity?

For more about this project’s theoretical groundings and what we hope to see in submissions, please visit this page of the Slought website.

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