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May 2024 Opportunities: Open Calls, Residencies, and Grants for Artists

By in Art World News

May 2024 Opportunities: Open Calls, Residencies, and Grants for Artists

Lisa Ericson, “Chariot“

Every month, Colossal shares a selection of opportunities for artists and designers, including open calls, grants, fellowships, and residencies. If you’d like to list an opportunity here, please get in touch at hello@colossal.art. You can also join our monthly Opportunities Newsletter.

 

$3,500 Artist Grants | The Hopper PrizeFeatured
The Hopper Prize is accepting entries for Spring 2024 artist grants. The program offers two awards of $3,500 and four of $1,000. Submissions will be juried by Lauren Rosati, Associate Curator, The Metropolitan Museum of Art, New York City and Maya Brooks, Assistant Curator, North Carolina Museum of Art. Thirty artists will be selected for a shortlist. This is an international open call, and all visual media is eligible.
Deadline: 11:59 p.m. PST on May 14, 2024.

ARTS Southeast’s ON::View Artist Residency ProgramFeatured
Applications are now open for the On::View Artist Residency Program in Savannah, Georgia. The residency supports artists from across the globe, working in all media, for periods of one to three months from August to October. Selected artists gain access to a high-visibility studio space to complete a new project, continue an in-progress endeavor, or to conduct research exploring conceptual, material, performative, and social practices.
Deadline: 11:59 p.m. ET on May 28, 2024. 

 

Open Calls

ArteAlta (International)
This annual competition organized by Alina Art Foundation, Inarttendu, and the Council of the Region Valle d’Aosta invites artists to submit work across painting, sculpture, photography, mixed media, textiles, paper, and video related to the theme of Fear. Three prizes with cash, an exhibition opportunity, and a residency will be awarded.
Deadline: May 1, 2024.

2024 International Photography Competition (International)
In its 13th year, the International Photography Competition is hosting an open call. Hosted by the Florida Museum of Photographic Arts, the contest will award one winner $1,000, and several photographers will be featured in an exhibition.
Deadline: May 5, 2024.

Tito’s Prize (Austin)
Open to any medium and artists at any stage of their career, this prize grants one winner $15,000 and a solo exhibition at Big Medium Gallery.
Deadline: May 6, 2024.

DCASE Visual Arts Exhibition Program (Illinois and Indiana)
Artists, curators, and arts organizations are invited to propose exhibitions for the Chicago Cultural Center galleries in 2025 and 2026. Budgets range from $10,000 to $80,000.
Deadline: 11:59 p.m. on May 13, 2024.

1708 Gallery’s InLight 2024 Call for Proposals (International)
Artists are invited to propose projects that engage with Pine Camp’s history and the site’s current activities and uses. Proposals should address rest and healing, isolation and exile, preservation and reclamation, or fresh air and nature as forms of respite and remedy. Artists receive a $1,000 honorarium.
Deadline: May 22, 2024.

Art in Odd Places 2024: Care (International)
The iconic public visual and performance art festival in Manhattan will take place October 18 to 20, 2024, under the theme of Care. Artists, performers, agitators, and caretakers are eligible to submit projects that invite the public to stop, to rest, to consider, and, above all, to care.
Deadline: 11:59 p.m. EST on May 26, 2024.

Orbitals (International)
Open to applicants from or living in the Arab world, this program takes four curators, artists, and arts researchers to Indonesia to for an eight-day trip to learn about a different artistic context in the Global South and share this knowledge with their communities. Flights, travel insurance, accommodation, per diems, and visa reimbursements will be provided.
Deadline: June 15, 2024.

The 15th Epson International Pano Awards (International)
This award is dedicated to the art and craft of panoramic photography and has a prize pool of $50,000. Entry fees are $20 to $22 per image.
Deadline: The early bird is midnight UTC-11 on June 24, 2024, and the final is midnight UTC-11 on July 15, 2024.

Now I Wanna Sniff Some Glue: An International Wheatpaste Show (International)
Tattooed Mom and Doomed Future are teaming up on a wheatpaste exhibition opening June 14 in Philadelphia. First-time and established artists are invited to submit works.
Deadline: June 1, 2024.

2024 Booooooom Art & Photo Book Award (International)
Artists, photographers, and illustrators are invited to submit cohesive bodies of work they’d like to see turned into a book. Six projects will be selected for publishing at no cost.
Deadline: June 7, 2024.

2025 Vilcek Prizes for Creative Promise in Visual Arts and Curatorial Work (International)
Open to artists and curators born outside the U.S. to non-American parents, the Vilcek Prize will grant six $50,000 awards to immigrants under 38.
Deadline: June 10, 2024.

Fiberart International 2025 Call for Entry (International)
Contemporary Craft and Brew House Art have teamed up for the 25th Fiberart International, which invites fiber artists to submit their work for a group exhibition in Pittsburgh. One winner will receive a $5,000 award, and there is a $45 entry fee.
Deadline: June 30, 2024.

NSMA International Painting Competition (International)
Open to professionals and students, this competition focuses on contemporary realism in painting, and all subject matter is welcome. One winner will receive $25,000, and finalists will be exhibited at the New Salem Museum and Academy of Fine Art.
Deadline: 11:59 p.m. EST on January 15, 2025.

 

Grants

ReadyLaunch Grant (International)
Geared toward empowering female and non-binary designers, the ReadyLaunch Grant supports myriad projects, including newsletters, zines, YouTube channels, and podcasts. Four grantees will receive $2,000, one-year access to a Female Design Council membership, enrollment in the Female Design Council Mentor Match Program, and assistance in securing media coverage. Funds can be used for team payments, space rentals, production costs, project resources, or participation in training programs.
Deadline: 23:59 p.m. CET on May 8, 2024.

The Andy Warhol Foundation Arts Writers Grant (U.S.)
Emerging and established art writers are eligible for grants ranging from $15,000 to $50,000 in three categories—articles, books, and short-form writing. Funding supports projects addressing both general and specialized art audiences, from short reviews for magazines and newspapers to in-depth scholarly studies.
Deadline: 11:59 p.m. ET on May 15, 2024.

CIRC Artist Grant (International)
Three $1,000 unrestricted grants will be awarded to artists at any stage of their career working in oil, acrylic, watercolor, pastel, drawing, printmaking, mixed media, photography, sculpture, fiber, wood, glass, ceramics, and digital art.
Deadline: May 15, 2024.

Thrive Grants (Oklahoma)
Oklahoma Visual Arts Coalition will award $5,000 and $10,000 grants to several artist-led, collaborative projects culminating in a public-facing program. A total of $60,000 is available.
Deadline: 11:59 p.m. CT on June 1, 2024.

2024 Robert Giard Grant for Emerging LGBTQ+ Photographers (International)
Queer|Art’s first international grant provides $10,000 to one winner and $1,250 to finalists to support the creation of projects addressing issues of sexuality, gender, or LGBTQ+ identity.
Deadline: June 30, 2024.

2024 Illuminations Grant for Black Trans Women Visual Artists (International)
In its fifth year, this grant supports visual artists who are self-identified Black trans women and awards $10,000 to one winner and $1,250 to finalists.
Deadline: June 30, 2024.

The Adolf and Esther Gottlieb Emergency Grant (International)
The Adolph and Esther Gottlieb Emergency Grant program provides one-time interim financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive $5,000, up to $15,000.
Deadline: Rolling.

Adobe Creative Residency Community Fund (Ukraine)
Adobe’s Creative Residency Community Fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between $500 and $5,000.
Deadline: Rolling.

Pollock-Krasner Foundation Grant (International)
The foundation welcomes applications from actively exhibiting visual artists who are painters, sculptors, and artists who work on paper, including printmakers. Grants are intended for one year and range up to $50,000. The individual circumstances of the artist determine the size of the grant, and professional exhibition history will be considered.
Deadline: Rolling.

 

Residencies, Fellowships, & More

Lillstreet Art Center Artist in Residence (International)
Lillstreet offers year-long residencies in ceramics and metalsmithing and nine-month residencies in drawing, painting, printmaking, book arts, and textiles. Artists have 24-hour access to facilities, free classes, paid teaching opportunities, participation in a group exhibition, and a monthly stipend. There is a $20 application fee.
Deadline: May 1, 2024.

Fireline Fellowship (U.S.)
For two and a half years, artists, writers, and thought leaders will explore issues related to wildfire at the H.J. Andrews Experimental Forest. Fellows will meet in person and online and develop public programming. They also receive $5,000, four weeks of residency time at the Andrews, and more.
Deadline: 11:59 p.m. PT May 3, 2024.

Tournesol Award (Bay Area)
This year-long residency offers one emerging Bay Area painter a $10,000 stipend, a private studio, and a culminating exhibition or project. The goal is to support the artist in establishing and maintaining a career in the region.
Deadline: May 3, 2024.

Singapore Art Museum Residencies (International)
Applications are open for three SAM’s artist, community and education, and curator and researcher residencies. Each program is fully funded, and residents receive a $1,000 SGD monthly stipend, housing, airfare, and studio space.
Deadline: 23:59 GMT +8 on May 31, 2024.

Eliza Moore Fellowship for Artistic Excellence (International)
One early-career visual artist, writer, dancer, or musician addressing plants, gardens, or landscapes will be awarded this fellowship. It includes a $10,000 grant and a two- to five-week stay at Oak Spring Garden Foundation.
Deadline: May 31, 2024.

The Farm Margaret River Residency (International)
This residency tasks artists with creating a site-specific artwork informed by the environment. Spanning eight weeks, the program offers studios, accommodation, support for travel, and a $7,500 grant.
Deadline: 5 p.m. AWST on June 2, 2024.

1708 Pilot Artist Residency Program (International)
This residency provides visual artists free one- to three-month stays in Richmond, Virginia. Chosen applicants receive a private live/work space, a $1,000 monthly stipend, basic equipment, and professional development opportunities.
Deadline: June 2, 2024.

Pine Meadow Ranch Center for Arts & Agriculture Residency (International)
Artists, scholars, scientists, and researchers are invited to apply for two- to four-week residencies under the theme of care and stewardship. Residents receive shared housing and studio space. Travel reimbursements are also available.
Deadline: 11:59 p.m. PST on June 30, 2024.

The Hodder Fellowship (International)
Open across disciplines, this fellowship provides $90,000 to artists who spend ten months at Princeton University. No formal teaching is required.
Deadline: Mid-September 2024.

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Support Inspired Natives, not “Native-inspired”

By in Native

Support Inspired Natives, not “Native-inspired”
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“America’s original art and design is Native American design,” says Colleen Echohawk (Pawnee, Athabascan), CEO of one of America’s fastest growing Native-owned businesses, Eighth Generation. “Real Native art can connect you to the place you live, to the values you care about, and to the thriving Native community that’s so brilliantly making our shared world a better place. And through a Native-owned business like Eighth Generation, every person has the chance to bring real Native art and design into their home.” 

Eighth Generation, a Seattle-based blanket and home goods brand owned by the Snoqualmie Tribe, emphasizes the importance of supporting Native artists with their 100% Native-designed product line. One of the company’s founding principles was to fight cultural appropriation by claiming space in the market for authentic cultural art; that way customers could appreciate Native art while supporting the Native artists and communities those designs came from. 

Eighth Generation is best known for their wool blankets, of which they currently have 31 different designs by Native artists across the US and Canada. Their line also includes a variety of home goods, housewares, and accessories, each sharing the beauty of Native art and symbols. Several of Eighth Generation’s products are made in their studio in the Georgetown neighborhood, including their Gold Label Collection of luxury Merino wool blankets and scarves. 

“It’s so inspiring to do this work,” says Colleen. “When people purchase from Eighth Generation, they’re really shopping their values. They’re affirming that supporting authentic Native art—not the fake “Native-insipred” stuff you see a lot of—is important to them. They’re saying ‘I care about artists and authenticity and building wealth in the Native community’ with their purchase. It’s a great way to be an ally to the Native community, and of course have beautiful art and meaningful home goods in your space. 

What’s next? “We have so many exciting new pieces coming to our store this year, including a selection of rugs by Ts’msyen/Tsimshian artist Kandi McGilton, a collection of jewelry by one of the hottest tattoo artists in the country, Shoshone-Bannock artist Kira Murillo, and some wool shawls by three different Native artists that are going to be really special.” While the majority of Eighth Generation’s business is done online, it has a modern and bright flagship store in Downtown Seattle just steps from Pike Place Market on First Avenue. Later this summer, the business is opening a store at SeaTac Airport, so shoppers can buy on the fly and grab an authentically-Seattle souvenir. 

“We have so many great products and different designs, it’s really easy to incorporate authentic Native design into your home, no matter what your style is,” shares Colleen. “No matter what you buy—a really bold blanket for your bed, or a subtly-patterned mug for your morning coffee— there’s a way Native art can be part of your home.” 

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Sons, when did you last hold your father’s hand? Valery Poshtarov’s best photograph

By in Photography

Sons, when did you last hold your father’s hand? Valery Poshtarov’s best photograph

A few years ago, while walking my sons to school, I found myself thinking that, although I held their hands daily, one day they wouldn’t need me alongside them, that we would lose that sense of physical closeness. I decided to photograph my own father and grandfather holding hands – but it was the start of the pandemic, my grandfather was 95 and we wanted to keep him safe. We couldn’t meet for over a year.

In the meantime, while walking around Bulgaria’s capital Sofia, where I live, I stopped to photograph a house that caught my eye and a woman came out pushing a man in a wheelchair. I assumed they were going to chase me away, but instead she showed me a framed picture of a young man, aged about 30. She said he was their only son and he had died eight months before. She asked if I would photograph her husband with the portrait.

I was stunned – it felt like a sign. This was exactly the kind of picture I’d been thinking about. I did as asked and later took the portrait I’d planned – of my father and grandfather holding hands. My grandfather passed away shortly after. It’s the only image my father has of just the two of them.

That became the first in an ongoing series. So far, I have photographed fathers and sons holding hands in Bulgaria, Georgia, Turkey, Armenia and around the western Balkans. Many live far apart. Sometimes, the whole community joins in – someone might suggest a neighbour who has his son around and say maybe we could bring them together. People also call me asking for a portrait.

Other pictures are the result of a chance encounter, which is how I prefer them – when I’m somewhere nobody knows me and I have to approach people as a stranger. That was the case with this image. While travelling around Georgia, I saw these two on the road. I had only a minute or two to explain the idea and convince them to take part. When I took the picture, I had just a few seconds before it got too awkward for them. There’s always the challenge of choosing the right background, one that’s somehow relevant to the participants, and of preserving the authenticity of this very special act.

There are cultural differences between countries, of course, and the gap between generations seems bigger in places that have had recent conflict or a change in political systems.

There are various reasons, too, why fathers and sons might not want to take part. For the older generation, perhaps there’s a feeling that men shouldn’t express emotion. For sons, there can be timidity and awkwardness, related to stereotypes about masculinity and openness. If it’s so hard for a father and son to hold hands, I wonder how difficult it would be for strangers.

I send everyone a copy of their portrait and they sometimes reply with their stories. Some haven’t held hands for decades, or ever. In some cases, relationships have been changed for the better – and even estrangements have been overcome. In others, the father and son already had a close relationship. Even the hardest guys seem to accept that father and son relationships are somehow sacred: there’s something incontestable about them. I’ve been distributing free postcards of my portraits and, even when looking at pictures of strangers, people can recognise themselves.

I see all these images – even the one of my father and grandfather – as icons, representations of something bigger than individual identities. I’m trying to bring in as many countries and cultures as possible. I wouldn’t be surprised if it becomes a lifelong journey.

Valery Poshtarov is winner of the portraiture category of the Sony World Photography awards at Somerset House, London, until 6 May

Valery Poshtarov’s CV

Born: 1986, Dobrich, Bulgaria.

Trained: National High School of Arts in Varna, Bulgaria, and Plastic Arts at the Sorbonne, Paris.

Influences: August Sander and Alec Soth.

High point: “I have evolved from capturing candid shots to more deliberately preserving the lives of those who consciously stand before my camera. The encounters with these individuals – this merging of souls that transcends personal identity to collaboratively build a shared vision of humanity – represent my true reward from photography.”

Low point: “Early in my career, I made a choice to maintain my integrity by rejecting commercial projects. This decision meant years away from photography, during which I supported my family by dealing art, not creating it.”

Top tip: “Artists dedicate their days to creating art, and their nights to doubting it. Ensure that each new day brings experimentation and growth.”

“I adore portraiture but felt my work could grow, so I’ve recently gone back to university to study photography”

By in Photography

“I adore portraiture but felt my work could grow, so I’ve recently gone back to university to study photography”
Photo CV
Alexander McDonald

Alexander is a self-taught portrait photographer with a varied body of experience.
His clients include Samsung and Cosmopolitan magazine and his work has been featured in internationally published hair magazines. Alexander teaches photography and lighting tutorials and enjoys shooting hair and beauty, fashion and events.

When did you start out in your current photographic genre?

I started photographing portraiture in the early 2000s. That led to a path of mainly hair and beauty in recent years. As a self-taught photographer at a time when digital was still in its relative infancy, I felt drawn towards photographing friends and family and followed an organic route to where I am today. 

What challenges did you face as a startup and how did you overcome them?

I found it became competitive quickly when digital photography took off, and now with even greater advances in technology, it’s even more important to stay on top of your game and be relevant. As a startup, networking and keeping your body of work
up-to-date as well as marketing yourself can be quite challenging on top of everything else that comes with running a business.

Understanding
“Consider how you want the end product to look and what process it would take to get there” (Image credit: Alexander McDonald)

What key skills are needed for your line of work?

I’d say the ability to feel confident in what you can bring to the table. In regards to when working with a client, be realistic with your expectations of yourself and help manage theirs too. A good understanding of how you want the end product to look and what process it would take to get there. Technical ability will get you so far and artistic visions can be difficult to communicate, so it’s always important to be able to work through a project with lots of inspiration, concepts and a strong idea of what the client is looking for.

Which social platforms are you on, which are your favorites and how do you use each for your business?

I use mainly Instagram for marketing my work, but I also use a website to direct my clients to view my full body of work.

Hair today
Alexander began by photographing portraiture, which led to his career of shooting mainly hair and beauty (Image credit: Alexander McDonald)

What are your future plans for the business? Are there any other genres you’d like to try or expand into?

I’ve actually recently gone back to university as a mature student to study photography at degree level at Anglia Ruskin University. I found that whilst I adore portraiture, I felt that my work could grow. I now take on more personal projects and enjoy working on other creative photographic practices, such as analog photography, as well as shooting different styles of imagery.

How would you describe your style and what are your main influences?

I have traditionally stuck to a commercial style but as I progress, I have found that my style isn’t linear and it’s developing. I recently did a personal project, inspired by the works of Martin Schoeller’s celebrity portraits, that demonstrates the depth of human emotion. 

Confidence
“Be confident in what you can bring to the table when working with a client. Be realistic with your expectations and help manage theirs too” (Image credit: Alexander McDonald)

Alexander’s main photo gear

The essential kit for a pro portrait photographer

Canon EOS 5D Mark IV “The resolution is essential when working on images that require high amounts of detail. The low-light performance is also wonderful.” (Image credit: Future)

Canon EF 85mm f/1.2L USM
“This lens performs excellently in both the studio and outdoor locations,” says Alexander of this ultra-wide-aperture standard prime optic. (Image credit: Canon)

Canon EF 100mm f/2.8L Macro IS USM
“I prefer to stick to this range for portraiture. Both this and the 85mm options offer fantastic resolution and contrast.” (Image credit: Canon)

Canon EF 24-105mm f/4L IS USM
“This standard zoom is a great all-rounder for when you need something that can cover all your bases on a shoot,” says Alexander. (Image credit: Future)

Inside Willy Vanderperre’s arresting new exhibition

By in Photography

Inside Willy Vanderperre’s arresting new exhibition

‘I’m genuinely excited for tomorrow because I’m interested in what the next generation have to say’: We spoke to the influential fashion photographer about his latest show and his ongoing fascination with youth culture

Entering Willy Vanderperre’s latest exhibition prints, films, a rave, and more…, you are immediately met with distressed posters of Julia Nobis from the 2015 Document Journal cover, plastered all over the walls in the style of flyposting for music or fashion advertisements. Vanderperre has been photographing Nubis, one of his muses, for many years. In 2017, he created a fan zine dedicated to Nobis and another favourite, Clément Chabernaud. The arresting image of Nubis, which is so representative of his work, underscores the importance of collaboration throughout his practice, from his relationship with models to his creative partnerships with his husband, stylist Olivier Rizzo, and designer Raf Simons. 

While the image of Nobis is striking, it also reflects his fascination with fan culture at large. “The posters are like an announcement that something will happen. They already give you anticipation for what’s to come in the exhibition,” explains Vanderperre as he leads us through this new show exploring his universe. 

MoMu, the Fashion Museum Antwerp, broke new ground by inviting fashion photographer Vanderperre to present a solo exhibition. His focus on subcultures illuminates the ways in which young people have always been beacons of hope for the future, particularly in challenging times. It is a vision, as curator Romy Cockx writes in the introduction of Vanderperre’s book for the exhibition, “that has profoundly influenced the fashion world,” earning him commissions at influential magazines such as Dazed, AnOther, i-D, Perfect Magazine, Vogue, and so many more.  

Spanning almost three decades, the exhibition is an expansive survey of Vanderperre’s work to date. Mixing art history with photography, it’s testament to his diverse artistic repertoire and features films, music, and art that have influenced his career. 

Additionally, limited edition souvenirs are available to purchase, with a portion of the proceeds going to Çavaria – a prominent Flemish advocacy group supporting LGBTQ+ rights. The items available include badges, T-shirts, tote bags, books, magazines, and more. The merch creates that familiar sense of leaving the exhibition feeling like you’ve just left a concert, and you have the badges and T-shirts to prove it. This approach not only allows his audience to engage with his work in different ways but also reflects his desire to connect with them on a more personal level, turning his art into wearable, collectable pop culture artefacts.

Ahead of its opening last week, we spoke to the fashion photographer about the exhibition, the importance of remaining youthful, and how he still has much more to say.  

This exhibition deals so much with merch and fan culture. What is your favourite piece of merch that you own, and what does it mean to you? 

Willy Vanderperre: My favourite piece of merch is my Depeche Mode t-shirt. It’s not the most beautiful shirt, but it’s from my first-ever Depeche Mode concert. I collect many from concerts, but now you can just get them from thrift stores. But I am a huge fan of theirs and will always be a huge fan. 

I think we can sometimes take merch for granted, especially those who go to concerts and shows regularly, but your exhibition highlights how important these tangible pieces of memorabilia are. 

Willy Vanderperre: For this exhibition, we called the merch collectable items. While merch is a beautiful word, we chose collectable items because we’ve limited everything to 25. We can’t do an unlimited edition; we wish we could, but there’s something nice about it being so far and few between. It’s special. Merch is so important to me, not only as memorabilia, but as a collectable thing. It’s so nice to bring something home from an adventure you went on.

“The true essence of youth, it’s super fleeting, right? There’s magic to that, but also sadness” – Willy Vanderperre

This exhibition highlights how your fascination with youth has been a motivational force for almost three decades. What is it about youth that you find so fascinating? 

Willy Vanderperre: If we talk about the true essence of youth, it’s super fleeting, right? You only see the world through the eyes of a young person once in your lifetime. You get it as a teen, but you don’t quite grasp it; you don’t understand. It’s all new: new hormones, new anxieties, new doubts. There’s also this sense of feeling so alone like nobody understands you. There’s magic to that, but also sadness. When you look back at that time, you remember being miserable, but you always look back at it with fond memories when you grow old. It’s weird. 

I am also just so interested in what’s happening with the youth today. I always have to reference my niece; she turned 18 and COVID-19 happened. She could not do anything and had never been to a club; she was almost done with school, and then school was completely different. When I was younger, we had Aids and the Cold War, but the younger generation have wars and climate change. But they are still so vocal about this stuff in such positive ways. There’s something so wonderful about the actions of the younger generation. I’m genuinely excited for tomorrow because I’m interested in what the next generation have to say. I’m 53 years old, and my perception of youth has completely changed because I’m no longer your father; I am your grandfather.

How has your relationship with youth culture changed over the years, and how has that materialised in your practice? 

Willy Vanderperre: My perception of youth is different now. But I think there’s a difference between youth and youthfulness because even though I’ve aged, I will always feel youthful. It’s my energy and the way I am. I think it’s also because I’m still interested in tomorrow and want to learn.

You’re still curious. 

Willy Vanderperre: Curious, yes. When I’m talking to you, I forget my age because, for me, it’s easier to think of myself as your age. But it’s probably impossible for you to think of being my age. You probably dread it. 

I don’t dread it, actually. I say this all the time, probably to the point of annoyance, but I think ageing is a huge privilege.  

Willy Vanderperre: Yes but I think it’s essential to keep the same excitement as you have when you’re young. You have to keep that interest and curiosity; otherwise, you start to age. I honestly love the idea of ageing. When COVID-19 happened, it took so much from us, but it was also the first time I ever spent almost a year confined in my own home with my husband (Olivier Rizzo). This never happens, and I looked at him and said, ‘Wow, I can’t wait to get old.’ So it’s not that I’m afraid of growing old; I just don’t think it’s my time to grow old. I still have a drive and want to share stuff with the world. It’s not that I’m going to grasp onto that forever. I think there comes a time when you know you must embrace ageing and say ‘Yes. OK, we’ve had a good run.’

This exhibition also showcases your collaborations with Olivier Rizzo and Raf Simons. How have these relationships influenced your creative process? 

Willy Vanderperre: When you start working with someone, it’s because you have the same interest, right? You must have a base and a connection. You can’t force a relationship. A relationship must thrive the first time you work together; otherwise, you will lose it. But we found each other at a very early age. We come from three different places in Belgium and three different subcultures of youth. We challenged each other, and I think that’s the thing. We always want to improve what we’ve done, and I think that’s the beauty of it. We’re always striving to make something better, which keeps me excited – and it’s the same for Raf and Olivier. 

We don’t like to feel repetitive. That’s also what we’re trying to present to you in the exhibition — this variety of emotions and techniques. I don’t dismiss people who use that one light source throughout their career; it’s a choice. I will forever be that art student kid who goes into the laboratory and changes and mixes things up because I like it. I love that feeling. That is my choice. 

What does this exhibition mean to you? 

Willy Vanderperre: Oh, it means the world! I am convinced now more than ever that I still have a lot to say. I firmly believe in teamwork because nothing gets done on its own. This show has been all about teamwork. That’s something that we learned or more accurately, something that I already knew, but was enhanced during this process. You must always be grateful for the people who believe in the work and help you in every way possible. I also learned that there’s always a place for improvement and that a show can be exciting if you think outside the box. When people hear the term museum, they can assume it will be stuffy or boring, but it can be so alive. 

Willy Vanderperre’s prints, films, a rave, and more… at MoMu is running until August 4, 2024. 

The James Webb Space Telescope Reveals Details of the Horsehead Nebula in Unprecedented Resolution

By in Art World News

The James Webb Space Telescope Reveals Details of the Horsehead Nebula in Unprecedented Resolution

Edge of the Horsehead Nebula. All images courtesy of NASA/ESA/CSA

Focused on the part of the sky where you can spot the constellation Orion (“The Hunter”) on clear nights, the James Webb Space Telescope’s latest dispatch blinks in astonishing images from an area known as the Orion B molecular cloud.

At 1,300 light-years away—more than 7.8 quadrillion miles from Earth—the cloud is the closest star-forming region to our solar system. And rising from the turbulent field of gas and dust is Barnard 33, commonly known as the Horsehead Nebula. The gradually collapsing, interstellar cloud is more than 5.8 billion miles tall, composed of material illuminated by a hot star nearby. Over millions of years, the gas clouds surrounding the formation have dissipated, but the pillar remaining today is composed of thick clumps that are harder to erode, providing scientists with a perfect subject for study.

Webb zoomed in on the top crest of the nebula to capture the region’s complexity with never-before-seen spatial resolution. Using imagery from the telescope’s MIRI and NIRCam instruments, an international team of astronomers has revealed small-scale structures along the illuminated edge of the Horsehead for the first time.

In addition to photographs, the team has released a mesmerizing gyroscopic video, taking us on a journey through the light-years in just under two minutes and providing a sense of the enormous scale and distance Webb documents. Explore more of Webb’s missions on NASA’s website.

 

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