Call for proposals

Issue 119 (spring-summer 2018)

General informations:

Submissions must be sent in Word or RTF format to info [@] espaceartactuel [.] com. Unless otherwise indicated, they should comprise original and previously unpublished work. Writers are asked to include a brief biography (70-80 words for reviews, 80-100 words for other sections) and their mailing and email addresses.

The editorial committee reviews all submissions and reserves the right to accept or refuse any articles. Texts that present a potential conflict of interest between the author and subject will not be considered.

Submissions are evaluated on the following criteria: relevance to the mandate of ESPACE magazine, clarity of expression, quality of analysis and originality.

The editorial committee is overseen by the magazine’s editor-in-chief and consists of Mélanie Boucher, Peter Dubé, Bénédicte Ramade and Bernard Schütze.

Contributors will receive $65 per 250-word page.

1. EXHIBITION REVIEWS section

Exhibition reviews should be no more than 1000 words, including endnotes. Authors must choose a recent solo or group exhibition held in Quebec, Canada or abroad.

Submission deadline: the deadline for Reviews is January 15, 2018.

2. INTERVIEWS or EVENTS sections

Please send an email to the direction of the magazine if you are interested in writing for either of these sections. Articles must be between 1500 and 2000 words, including endnotes.

Submission deadline: the deadline for Interviews and Events is January 15, 2018.

3. DOSSIER section

If you would like to submit a text, we first invite you to email the editor of the magazine André-Louis Paré at alpare[@]espaceartactuel[.]com to present a summary of your project. We will inform you promptly if your proposal is accepted. Your completed text should not exceed 2000 words, footnotes included. As well as an honorarium of $65 per page (250 words), we will send you a free one-year subscription to the magazine.

Deadline: Date for reception of the final version of the text is January 15, 2018.

Dossier : Space Art
Issue 119 (spring-summer 2018)

A little more than four hundred years ago, the Earth, thought of as the stable centre of the world, went through a definitive “drop in cosmic status” with Galileo. From then on known as an “errant star,” the Earth became one planet among others within a vast ensemble in which the image of the heavens lost its dignity of the past. This was followed by a new “position of man in the world” in which human beings as worldly creatures are led to act as inhabitants of the universe. With the advances in science and technology, this extraordinary adventure would take form at the end of the 1950s with the conquest of Space and the crazy desire to walk on the Moon one day. Launched in the context of the International Geophysical Year, but also in the midst of the “cold war,” the Soviet Union put the first human-engineered satellite, Sputnik 1 into orbit on October 4, 1957. In 1961, the first flight carrying a human being took place with the Soviet Union’s Yuri Gagarin on board. However, it was an American, Neil Armstrong who was the first to walk on the Moon on July 20, 1969. This was as if humanity had accessed a new dimension of which only the future would tell what this could best offer our species. In her prologue to The Human Condition, published in 1958, Hannah Arendt emphasized the significance of this conquest in the history of humanity, but she also was concerned about what this achievement would bring to the human spirit. She lamented this desire, unconscious or not, of escaping the human condition. In fact, what would it mean to no longer be bound to the Earth?

Well before the possibility of imagining ourselves outside of our environment, of placing ourselves in an extra-terrestrial situation in front of an image of the blue planet, science fiction writers had conceived of the idea of sending an object or a human being into Space. This is to say that the artists have always been filled with wonder before the Cosmos. However, since the end of the 1960s, some of them would like to participate actively in this extraordinary human adventure. With Apollo 12, legend has it that the first “museum” has been installed on the moon’s surface on the initiative of artist Forrest Myers. Moon Museum consists of a small ceramic plaque on which the works of American artists have been reproduced. In 1971, the Apollo 15 mission also deposited Paul Van Hoeydonk’s work, Fallen Astronauts on the moon. The work was placed near a commemorative plaque paying tribute to deceased astronauts. In 1993, for the MIR station, Arthur Woods created Cosmic Dancer, a geometric sculpture to be exhibited in a state of weightlessness. Other art projects are under way, like that of the late artist Jean-Marc Philippe and his Keo project, a satellite containing messages from people on earth to their descendants.

It is from this perspective of Space Art projects that ESPACE art actuel would like to stimulate reflection for this issue of the magazine. Although there have been many precursors already in the sphere of Space Art, other projects continue the desire to get outside our terrestrial world. One thinks of Trevor Paglen’s Orbital Reflector project, which should take form in the spring of 2018, and also MoonArch, another miniature museum that Lowry Burgess has planned and initiated for 2019. These works created for space, if not a state of weightlessness, these orbital sculptures certainly raise many questions. Can a work of art be extra terrestrial? What does an artwork signify when it is exhibited in space? Who is the viewer that it exists for?

In other respects, although Space Art refers to an ensemble of contemporary art practices inspired by Space research or activity, the intention of this issue is also to look at art practices that through digitalization and the use of scientific data are influenced by or deal with Space to create videos, sculpture or installations. Consequently, this issue of ESPACE would like to give accounts of art practices fascinated by Space, which often give more imagination and freedom to critiques. This enables more questioning. What kind of new imagination does Space Art imply? How is Space a privileged place for thinking about and investigating other concepts of the world? In the era of globalization, what does art tell us about the sovereignty of Space? How can art make us think about a new “cosmopolitism”?

For this issue of ESPACE, we would like contributions that concern both art practices and those with a more theoretic perspective on the implications that Space Art may raise.