[artinfo] Call | Appropriation in Creative Practice

[Mason Dixon]

   Deadline : 23 June 2007

   Dispatx Art Collective is now accepting proposals for full-length
   collaborative projects related to the theme in exploration,
   Appropriation in Creative Practice.

   Contemporary artists regularly appeal to theory and philosophy as
   justification, premise, or point of departure. More recently some
   artists have begun to incorporate theoretical texts as a material for
   their work. This treatment of philosophy, as if it were cardboard or
   paint, questions perceived boundaries and dependencies between
   theoretical idea and creative practice.

   How can theoretical ideation and structure be appropriated by
   different creative practices? What effect might this have on the
   development of work or on the creative method in general? Crucially,
   in what ways can ideas themselves be treated as material substances,
   rather than as jumping-off points or conceptual armatures, and does
   this alter their influence and status?

   Full-length projects make up the majority of the Dispatx collections.
   The documentation of their development is made fully visible in Make,
   allowing site visitors to interact with the project development via
   tags, comments, and creating their own private collections. This means
   of participation is directed above all at art professionals interested
   in a rigorous investigation of creative and curatorial practice.

   For details of the theme and how to collaborate, please visit
   www.dispatx.com/submissions/

   ....................................................................
   Oliver Luker | Director
   www.dispatx.com

   Barcelona, Espa=F1a

    Dispatx Art Collective is now accepting proposals for full-length
   collaborative projects related to the theme in exploration,
   Appropriation in Creative Practice.
   Contemporary artists regularly appeal to theory and philosophy as
   justification, premise, or point of departure. More recently some
   artists have begun to incorporate theoretical texts as a material for
   their work. This treatment of philosophy, as if it were cardboard or
   paint, questions perceived boundaries and dependencies between
   theoretical idea and creative practice.
   How can theoretical ideation and structure be appropriated by
   different creative practices? What effect might this have on the
   development of work or on the creative method in general? Crucially,
   in what ways can ideas themselves be treated as material substances,
   rather than as jumping-off points or conceptual armatures, and does
   this alter their influence and status?
   Full-length projects make up the majority of the Dispatx collections.
   The documentation of their development is made fully visible i
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