Kluge-Ruhe Aboriginal Art Collection Artist Residency

The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia seeks applications for a four week artist residency.

Lisa Waup, Recipient of 2023/2024 Artist Residency at the Kluge-Ruhe Aboriginal Art Collection. Image credit: Tom Cogill

About the opportunity

The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia is the only museum dedicated to Australian First Nations art in the United States. Its mission is “to expand knowledge and understanding of Indigenous Australian arts and cultures to cultivate greater appreciation of human diversity and creativity.”

In partnership with the University of Virginia, we offer this exciting professional development opportunity for established First Nations visual artists to undertake a residency of up to four weeks at Kluge-Ruhe and exhibit a collection of work.

Creative Australia has made significant investment in this partnership for over 10 years, supporting some of Australia’s most highly respected First Nations visual artists, including Lisa Waup, James Tylor, Dub Leffler, Brian Robinson, Barbara Moore & Sharon Adamson, Kent Morris, Jenni Kemarre Martiniello, Carol McGregor, Julie Gough, Janet Fieldhouse, Djambawa Marawili AM, Damien Shen, Bianca Beetson, Ricardo Idagi, Nici Cumpston, David Bosun, Yhonnie Scarce, and Vernon Ah Kee.

During the residency, artists will participate actively in the life of the University of Virginia. This participation can be accomplished in several ways, such as working on projects with students, demonstrating work in the studio and delivering artist talks. Artists are encouraged to consider ways their residency might engage students and faculty in different disciplines. Kluge-Ruhe will build on the artist’s strengths and interests to assist them in designing programs and establishing networks.

Artists should submit a detailed expression of interest, exhibition proposal and CV/resume (see application form). View application guidelines.

Kluge-Ruhe will provide the following support:

return international flights
accommodation in Charlottesville
transportation between accommodation and the museum or University of Virginia
per diems
exhibition support, including shipping, mounting and framing of work
access to a studio or workspace
assistance with connections to the visual arts sector in the United States and within the University’s network
welcome reception and other social events
marketing and promotion.

Creative Australia will provide an honorarium to the artist of $20,000 AUD.

To successfully complete your application, you must provide the following:

1. Current resume or CV (Word document or PDF)

2. Letter of Interest addressing the following questions. (Word document or PDF)

What opportunities are you looking for in a residency at Kluge-Ruhe?
What skills would you like to develop?
What skills are you prepared to teach others?
How do you propose to share your artistic practice with others, for example, students and faculty at the University of Virginia, Kluge-Ruhe’s public audience and local artists in the Charlottesville community?
How do you imagine this residency will benefit your practice and your community?
Why is this the right time for you to undertake a residency in the U.S.?

3. Description of a proposed exhibition that you or your agent can loan to Kluge-Ruhe for six months OR up to 10 images of your work.

This proposal is not final but will give us a sense of what you envision exhibiting at Kluge-Ruhe. (Word document or PDF)

Please see the gallery floorplan with dimensions.

Images of the gallery are available at:
Close to the Wind: Lisa Waup
Untouched Landscape: James Tylor
Darkish: Dub Leffler

4. Indicate the periods that you are available to undertake a residency at Kluge-Ruhe. (Check all applicable boxes)

September/October 2025 (exhibition period June – December 2025) February/March 2026 (exhibition period January – June 2026) September/October 2026 (exhibition period July – Dec 2026) February/March 2027 (exhibition period January – June 2027)

Applications will be assessed by a panel of First Nations Australian curators and Kluge-Ruhe staff, with final recommendations endorsed by the First Nations team at Creative Australia. You will be advised of the outcome of your application with 8 weeks of the closing date for applications.

Key dates

Applications closed

Amount: $20,000

Location: Charlottesville, Virginia, United States of America

Art form: Visual Arts

Length of residency: up to 1 month

Dates: September/October 2025, February/March 2026, September/October 2026, or February/March 2027

This residency is open only to Aboriginal and Torres Strait Islander artists.

Contact

Tahjee Moar
Project Manager
First Nations Arts & Culture
Phone: +61 2 9215 9095
Email: tahjee.moar@creative.gov.au

Venice Biennale 2024: expressions of interest for artistic proposals

Opportunity for Australian artists and curators to present a ground-breaking and ambitious exhibition within the Australia Pavilion at the Venice Biennale 2024.

Australia Pavilion.

Watch the recording of the information session

In this webinar held on Monday, 26 September, we provided an overview of the stage one process.

About the opportunity

Expressions of interest (EOI) are now open for artistic proposals to represent Australia in the category of National Participation for the 60th International Art Exhibition of La Biennale di Venezia (Venice Biennale 2024).

The Venice Biennale is a significant platform that allows Australian contemporary art to be known globally for its innovation, sustainability, complexity, and diversity. Australia’s participation in the Venice Biennale provides Australian artists and curators with a high-profile international opportunity that includes important international exposure to new audiences, markets, and contexts. This exposure builds the profile of Australian contemporary art and stimulates international cultural links, networks and dialogue for Australian artists and curators.

Australia Council for the Arts is the commissioner in the category of National Participation for the Venice Biennale. In 2024 the Council will be the producing manager of the exhibition. The successful artistic team will work in close collaboration with the Australia Council from concept through to the development, launch and deinstallation.

The Venice Biennale typically runs for seven months, from May to November 2024.

Shortlisted applicants from the expressions of interest will be invited to submit a detailed proposal later this year (Stage Two). The successful artistic team will be announced in early 2023.

We are looking for an artistic team with the concept, credentials, and experience to exhibit in the Australia Pavilion for the Venice Biennale 2024.

A shortlisted proposal will include an artistic concept that is:

creatively ambitious
engaged with contemporary visual art discourse and global conversations
responsive to the architecture of the Australia Pavilion, and
considerate of the audiences who visit the Venice Biennale.

Proposals may focus on presenting one artist or relate to a number of artists and their practice. Similarly, proposals may include one curator or a number of curators.

Artist Fellowship

The artist/s representing Australia in the Pavilion will receive the Venice Artist Fellowship of $100,000 to develop, create, and produce new artwork(s) for the exhibition in the Australia Pavilion. Additional support towards travel and accommodation in Venice will be provided.

Curator Fellowship

The curator/s representing Australia will receive the Venice Curator Fellowship of $50,000 to provide curatorial direction for the exhibition, working closely with the Australia Council as the producer. Additional support towards travel and accommodation in Venice will be provided.

General Support

An exhibition budget covering freight and equipment, fabrication, Pavilion operations and maintenance, install and deinstall, PR and marketing will be managed by the Australia Council as the producer.

Only individuals and groups may apply to this opportunity. All members of the artistic team must be Australian citizens or Australian permanent residents and practicing artists or arts professionals.

Who can’t apply

You can’t apply for this opportunity if:

you have already applied to this opportunity in a separate proposal
you have an overdue grant report
you owe money to the Australia Council
you are an organisation.

Your EOI must address three assessment criteria.

First Criterion | Quality

The panel will assess the quality of the artistic proposal. They will consider:

vision, ideas, and artistic rationale
level of innovation, ambition, experimentation or risk-taking.

Second Criterion | Viability

The panel will assess the viability of the artistic proposal. They will consider:

skills and ability of artist/s and curator/s involved, and relevance to the proposal
evidence that you have considered and addressed audience engagement and access associated with your artistic proposal.

Third Criterion | Timeliness

The panel will assess the timeliness of the artistic proposal. They will consider:

the proposal’s contribution and relevance to contemporary art discourse both in Australia and Internationally.

Successful EOI applicants will be asked to submit a detailed proposal later this year (Stage Two) based on the advice of a panel of independent industry advisors including national and international visual arts experts. The names of the panelists will be published when the successful Stage Two proposal is publicly announced.

The questions we will ask in the application form include:

a title for your proposal
the names of the proposed artist/s and curator/s
*do not list names of any technicians, consultants or any other collaborator supporting your proposal.
a short overview of your proposal
attachment of three essential and one optional support material items will be required, including a two-page artistic proposal, biographies and curriculum vitae of all members of the artistic team and examples of previous work.

You must submit support material with your application. The panel will review this support material to help them gain a better sense of your proposal.

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online or need advice on what type of material to submit, please contact the Venice Biennale Project Team.

There are four types of support material you must submit:

Artistic Proposal

A maximum two (2) page, A4 PDF document titled *titleofproposal_ArtisticProposal_VeniceBiennale2024

Minimum font size must be 11pt, sans serif.

This document should address the three assessment criteria outlined in these guidelines and provide a summary of your artistic proposal for the Australia Pavilion.

*You are not required to submit visuals or a realised exhibition concept in this EOI Stage One.

Curriculum Vitae

A maximum one (1) page per individual, A4 PDF document titled *titleofproposal_CV_VeniceBiennale2024

Minimum font size must be 11pt, sans serif.

This document should include a short bio of each member, illustrate relevant experience and practice achievements of each member.

Artistic support material

A maximum four (4) pages per artist, A4 PDF document titled *titleofproposal_previouswork_VeniceBiennale2024

Minimum font size must be 11pt, sans serif.

This document should include images and brief overview text of previous work. Do not include web links in this document.

Letter of support from gallery (optional)

If you are affiliated with a commercial gallery, please provide a letter of support from them outlining the nature of their support towards your participation. An individual letter can be submitted for each artist forming part of the team.

If you are not affiliated with a commercial gallery, you do not need to submit this letter.

You can download the floor plan and images of the Australia Pavilion here:

Key dates

Applications closed

Please note: To apply you must be registered in our application management system a minimum of two business days prior to the closing date.

Contact

For all enquiries please contact: venice@creative.gov.au

CINARS 2022 Biennale

Blood on the Dance Floor by Jacob Boehme. Credit: Dorine Blaise.

About the program

Established in 1984, taking place every two years, CINARS is one of the most important international showcases and networking events attracting over 1900 performing arts professionals from around the globe.

The Australia Council will support a delegation to attend this event. We also welcome any Australian artists and companies attending on a self-funded basis to join the delegation and any related networking activities.

More details on the event can be found on the CINARS website.

Funding

Australia Council will support 10 delegates with $4,000 each, towards the cost of travel. These supported delegates will be responsible for all costs associated with attending the market including flights, visas, insurance, accommodation and registration.

Who can apply

This opportunity is for Australian-based artists and/or producers working independently or within organisations.

Who can’t apply

You can’t apply for this grant if:

you have an overdue grant report
you owe money to the Australia Council.

Applicants are required to respond to the following assessment criteria:

The impact of attendance at CINARS in developing future international opportunities and enhancing international visibility.
Demonstrated understanding of and commitment to the region and market.
The timeliness of this opportunity and demonstrated ability to plan and deliver on any international outcomes that may arise.

Your application will be reviewed by Australia Council staff and industry advisers against the assessment criteria.

Applicants will be notified of the outcome of their application by late September 2022.

No supporting material is required for this application.

Key Dates

Event dates: 7-12 November 2022

Closing date: Tuesday 6 September 2022, 3pm (AEST)

Location: Montreal, Canada

Amount: AUD $4,000

Please note: To apply you must be registered in our application management system a minimum of two business days prior to the closing date.

Applicants will be notified of the outcome of their application and progression to stage two approximately 2 weeks after the closing date.

Acme London Residency

Develop your visual arts practice and professional networks with $30,000 while living and working at Acme’s East London residency space, the Fire Station.

Acme Fire Station, 30 Gillender Street, 1999 © Acme Archive

About this opportunity

Through our partnership with Acme, visual arts professionals (including artists, curators, and arts writers) are offered a six-month residency at Acme’s East London Fire Station residency space.

Founded in 1972, Acme Studios is a London-based charity that provides affordable studio space and residencies and awards for non-commercial fine artists. Acme supports over 800 individual artists across 8 boroughs in Greater London, offering a wide range of high-quality, long-term, and professionally managed artist studio spaces, including permanent new-build studios.

In addition to affordable studio space, Acme operates a Residency & Awards programme which is one of the most supportive and extensive in the UK. Acme’s programme of artist support aims to intervene at pivotal moments in artists’ careers. Working with a range of international and UK-based partners and donors, the programme supports professional development for artists at all stages of their careers through residencies, bursaries, mentoring and exhibition opportunities. Over 800 artists have benefitted from the programme since its foundation in 1987.

Acme makes every effort to assist visiting artists with the practical, cultural, and social aspects of their stay. In addition to managing the studio live/workspace, Acme works actively with visiting artists to assist with their networking, practical and research needs and allowing them to develop relationships and focus on their work in a supported environment. Acme staff are available to artists for residency pre-planning, local orientation and for assistance and advice throughout the residency.

The overall aim of Acme’s Residencies & Awards Programme is to offer artists a supported environment and real professional development throughout the residency period. As every artist and their needs are different, Acme representatives are flexible about how they work with artists to achieve their goals.

During the residency period, Acme provide resident artists with opportunities including:

connecting with UK and international artists through Acme’s networks via Acme-organised events including gallery visits and social gatherings
bespoke one-to-one studio critiques or mentor meetings with UK-based arts professionals, organised by Acme
opportunity to work in collaboration with Acme staff to hold artist talks, or develop or participate in group discussions, critiques or events
one-to-one ongoing support and discussion with Acme staff
ongoing notifications and invitations to private views, open studios, lectures, and events in London.

Meet the latest recipient

Shevaun Wright

Who can apply

only individuals may apply to this category
you must be a practicing artist and an Australian citizen or an Australian permanent resident.

Who can’t apply?

You can’t apply if:

you received a grant, or administered a grant, from Creative Australia in the past and that grant has not been satisfactorily acquitted
you owe money to Creative Australia
we will not accept applications from legally constituted organisations.

Applicants must address the following assessment criteria:

Artistic merit

suitability of your practice to the residency program and its artistic environment/offer
quality of work previously produced, and public and peer response to your work.

Viability

suitability of your proposal to the residency program
the skills and artistic ability of your collaborators and their relevance to the proposed activity
realistic and achievable planning, resource use and evaluation.

Impact on career

how the proposed activity strengthens your artistic practice
the relevance and timeliness of the proposed activity
how the proposed activity strengthens your capacity as an arts professional, particularly in relation to international development and collaboration.

Our staff and industry advisors in consultation with Acme will consider applications according to the assessment criteria.

Successful applicants will be notified of the outcome of their application by mid-October 2024.

You should submit support material with your application. Assessors may review this support material to help them gain a better sense of your project.

What you should provide

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact us.

There are three types of support material you may submit:

Artistic support material

This should include relevant, recent examples of your artistic or cultural work.

Types of support material we accept

Our preferred method of receiving support material is via URLs (weblinks).

You can provide up to three URLs (weblinks) that link to content that is relevant to your proposal. This may include video, audio, images, or written material.

These URLs can include a total of:

10 minutes of video and/or audio recording
10 images
10 pages of written material (for example, excerpts of literary writing).

Please note: Our assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

If you are linking to media files that are private or password protected like Vimeo, please provide the password in the password field on the application form.

Other accepted file formats

If you cannot supply support material via URLs, you may upload support material to your application in the following formats:

video (MP4, QuickTime, and Windows Media)
audio (MP3 and Windows Media)
images (JPEG and PowerPoint)
written material (Word and PDF).

Biographies and CVs

You can include a brief bio or curriculum vitae (CV) for key artists, personnel or other collaborators involved in your project.

Brief bios or CV information should be presented as a single document no longer than two A4 pages in total.

Letters of support

Individuals, groups, or organisations can write letters in support of your project. A support letter should explain how the project or activity will benefit you, other artists or arts professionals, participants, or the broader community. It can also detail the support or involvement of key project partners, or evidence of consultation.

If relevant to your activity, letters of support must provide evidence of appropriate permissions and support from First Nations organisations, communities, and Elders. Please refer to the First Nations Protocols for more information.

You can include up to five letters of support, with each letter not exceeding one A4 page.

This residency is housed in a former LCC Fire Brigade Station that was built in 1910 in East London.

Acme’s east London studio complex features 12 work/live units on the upper four floors of the building, with six large non-residential studio spaces on the ground floor.

Each residency unit is 50 sqm large, with the studio element measuring 32 sqm, and features a separate bedroom, private bathroom, and basic kitchen area. The units are electrically heated, and all the windows have secondary glazing to reduce traffic noise and prevent heat loss.

The studio is simply furnished and has a printer and broadband internet connection. Artists are responsible for providing their own art materials and computer.

Acme are committed to access and diversity in all areas of operation, including service delivery, communication and publicity, staffing, and governance. Access needs for living quarters during a residency can be accommodated on request.

To apply for this grant, you will need to complete an online application form. If you would like to submit sections of your application in accessible formats such as audio or video, please contact us at least two weeks before the closing date.

The unit will accommodate couples and Acme can arrange additional bedding for additional guests. However, Fire Station work/live units are not family friendly.

2022-23

Nikki Lam

2020-2021

Hoda Afshar
Nathan Beard

2019-2020

Channon Goodwin
James Geurts

2018-2019

Salote Tawale
Arlene De Souza

2017-2018

Diana Smith
Claire Lambe

Key dates

Applications closed

Notification date: mid-October 2024

Residency dates: 7 April – 27 September 2025

Length of residency: 6 months

Location: London, UK

Art form: Visual arts (includes arts writers and curators)

Amount: $30,000

Acme website

Download the information pack: Learn more about the studio, accommodation, local area, and travel arrangements by downloading the PDF of the information pack.

If you have a question, or need help with your application, please call or email Artists Services.

Please note: to apply you must be registered in our application management system a minimum of two business days prior to the closing date. Technical and administrative support will not be available after 5pm on the closing date.

Contact

Ellen Dwyer, International Engagement Adviser, Europe
ellen.dwyer@creative.gov.au
+61 02 9215 9051

Frequently asked questions

Are the residency dates flexible? No. The dates for this residency are fixed.

Yes, but this will be at your own cost and we will not be able to provide additional funds towards the extension.

No. You are not required to provide a budget with your application.

There is no requirement for you to provide a timetable of your activities, unless stated otherwise in the individual residency program guidelines.

Yes. If successful, you are required to take out travel insurance for the duration of your residency, which can be paid for from your grant.

The unit will accommodate couples and Acme can arrange additional bedding for additional guests. However, Fire Station work/live units are not family friendly.

Yes, the grant to an individual that accompanies a residency is considered income and taxable. Please visit the Australian Taxation Office website for more information.

The International Residencies Program is dynamic and responsive and the programs on offer may vary from year to year.

Yes. If you are looking for some tips on organising your residency or programs in the region you’re interested in, check out the Tips and Links resources on our International Engagement web page.

Yes. Please note, applications to International Engagement funding opportunities do not count as an application to our Grants Program.

Yes, as long as you have satisfactorily acquitted the previous residency grant.

The grant is not intended to cover lost income or rent at home and applicants will need to consider their capacity to undertake the residency prior to applying.

We partner with established and reputable residency providers and each program is unique. Successful applicants will be provided with detailed information about each residency and introductions to the residency providers who will assist artists with making local connections. Our staff are able to provide further advice and contacts, as requested. Artists are also expected to have their own resources, contacts and project plans for the residency.

The grant is a contribution toward your travel (including airfares and travel insurance) and living costs during the residency period. Applicants are expected to research the cost of living in the residency location they are travelling to. You may need to supplement the grant with your own funds depending on your projected costs for the residency period.

No. We cannot provide any advice on visa or immigration matters. You must contact the relevant country’s visa service to get current information. We suggest you allow plenty of time to apply for all international visas.

Access needs for living quarters during a residency can be accommodated on request.

New York Publishers Program 2025: Adult lists

$5,000 to support Australian rights sellers, literary agents, and publishers of Australian books for adults to travel to New York in March 2025.

“new york taxis” by ShedBOy^ is marked with CC BY 2.0.

About the opportunity

Applications are now open to participate in an Australian publishing delegation to New York from 3-7 March 2025.

North America is the largest rights market in the world for Australian books, with New York at the heart of its publishing industry. It is also the hub for one of the world’s largest communities of literary agents and scouts.

This program will provide Australian rights sellers, literary agents and publishers of Australian works for adults the opportunity to develop their experience in the North American market, extend their networks, and pitch titles to North American editors. Applicants must represent a minimum of six authors.

The delegation will undertake a five-day program of industry meetings, market briefings and networking opportunities. We will work with the delegates to develop a tailored schedule of meetings.

We will support up to eight delegates with $5,000 each towards the cost of participating. Delegates will be responsible for all associated costs including but not limited to visas, flights, accommodation, and travel insurance.

After an evaluation of previous iterations of the program, we regret that we are no longer able to accommodate self-funded delegates.

Contact

To discuss your application, please contact Jo Simpson, Senior Officer, Literature Projects on 02 9215 9086 or jo.simpson@creative.gov.au.

Who can apply

Australian rights sellers, literary agents and publishers representing a minimum of six authors working in the following areas of creative writing are eligible to apply: adult fiction and non-fiction, including graphic novels.

Please check the general eligibility requirements on our website.

Who can’t apply

You can’t apply for a grant if:

you have an overdue grant report
you owe money to Creative Australia
you publish or represent fewer than 6 authors

Your application must comply with the following Protocols. We may contact you to request further information during the assessment process, or if successful, as a condition of your funding.

All applications involving First Nations artists, communities or subject matter must adhere to these Protocols, provide evidence of this in their application and support material. More information on the First Nations Protocols is available here.

All successful applicants are required to comply with all Australian law relating to employing or engaging people who work or volunteer with children, including working with children checks and mandatory reporting. Successful organisations who provide services directly to children, or whose funded activities involve contact with children, will additionally be required to implement the National Principles for Child Safe Organisations.

Our staff will assess your application against the published selection criteria and will seek recommendations by industry advisors as needed.

You will be notified of the outcome of your application approximately six weeks after the closing date.

Applicants are required to respond to the following selection criteria:

Demonstrated understanding of, and commitment to, North American markets and networks. Demonstrated suitability of your represented books and authors to the North American market. Applications must include an indicative range of the authors (minimum of six) and adult titles you wish to introduce to the North American market.
Professional experience relevant to the aims of the delegation addressing the timeliness of this opportunity. Demonstrated ability to plan and deliver on any international outcomes that may arise.
The impact of participation in this delegation in achieving the aims of your international market development strategy.

The types of questions we ask in the application form include:

a response to the selection criteria
supporting material as relevant to the application, including an indicative overview of the adult titles you wish to present to the North American market.

You must include an indicative overview of the range of adult titles you wish to introduce to the North American market with your application.

No other supporting material or budget is required.

Key dates

Applications closed

Event dates: 3-7 March 2025
Location: New York, USA
Amount: $5,000

Notification: Approximately six weeks after the closing date

Please note: To submit, you must be registered in our application management system a minimum of two business days prior to the closing date.

Contact

To discuss your application, please contact:

Jo Simpson, Senior Officer, Literature Projects
Phone: 02 9215 9086
Email: jo.simpson@creative.gov.au.

Additional information

Once you submit your application, we will send you an email acknowledging receipt of your application.

After you submit your application, we first check it meets the eligibility criteria for the grant or opportunity to which you are applying.

Applications for this program are assessed by Creative Australia staff, and industry advisers as required, against the published assessment criteria for the relevant grant program.

We aim to notify you of the outcome of your application no later than 6 weeks after the published closing date for the applicable grant round.

Once all applications have been assessed, you will be contacted about the outcome of your application. If you have been successful, you will also be sent a funding agreement. This outlines the conditions of funding, how you will be paid and your grant reporting requirements. The following accordion items outline these stages in more detail.

If your application is successful, you will receive an email advising you a grant is offered. You must then agree to the conditions of your grant, which represents Creative Australia’s contract with you – this can be done online, by email or by letter. Payment of a grant will not be made until the grant conditions have been agreed and accepted by all the relevant parties.

You should not start a project that depends on a grant until all relevant parties have agreed and accepted the grant conditions and we have evidence of such acceptance on file.

Standard grant conditions require you to, among other things:

seek prior approval for making a change to a funded project (for example, changes in the activity budget; changes to key creative personnel; or changes to start or end dates)
respond to requests for information about the project or grant
satisfactorily account for how the grant is spent (if you do not you will be required to return all monies for which you cannot satisfactorily account)
comply with all applicable laws
acknowledge our support in all promotional material associated with the project; this includes use of the Creative Australia logo and a standard text of acknowledgement.
provide artistic and financial acquittal reports at the end of the project
return any unspent grant funds at the completion of your project or on notice from us to return such unspent funds.

Grant agreements must be signed by a legal entity – either a legally constituted organisation or an individual. For unincorporated groups, see the section on administered grants.

All individual or organisation grant applicants based in Australia must have an ABN. Individual applicants without an ABN may have their grant administered by an individual or organisation with an ABN. Organisations operating outside of Australia do not need an ABN to apply. Individuals based outside of Australia may not need an ABN to apply, depending on their circumstances (please check with your accountant or tax advisor).

The name of the applicant must match the name of the ABN and the name of the bank account into which we pay the funds. There are no exceptions to this rule. If applicants cannot provide an ABN and bank account that are in the same name as the applicant’s name, they will need to nominate an administrator for their grant.

Groups/ensembles/collectives, unincorporated associations/ unincorporated entities and other bodies with no legal status do not need an administrator if they have an active Australian Business Number (ABN) and bank account in their name. If they are unable to provide an active ABN and bank account that matches the name of the applicant, they must nominate an administrator. The name of the administrator must match the name of the ABN and bank account into which funds are paid if the application is successful.

If we approve your application you will need accept the conditions of the grant in a funding agreement.

After you accept your funding agreement online, we will automatically generate a payment for the grant on your behalf. You do not need to send us an invoice.

We will pay grant funds directly into your nominated bank account within two weeks after acceptance of the funding agreement. Grant payments cannot be postponed.

If you do not wish to have the grant funds paid directly into your bank account you can choose to have your grant administered by another individual or legally constituted organisation (Doesn’t apply to Arts Projects – Organisations).

When you apply, you will be asked to provide an active Australian Business Number or ‘ABN’. The ABN that you provide must correspond to the name of the applicant (or the administering body, if one has been nominated). When you accept your funding agreement, you will be asked to enter the details of the bank account you wish the grant to be paid into. The name associated with that bank account must correspond to the name in which the ABN has been registered.

Logo downloads.

Grant reports are required on completion of your project. Acquitting a grant means accurately reporting on the funded activities and the expenditure of Creative Australia funding.

Please read your funding agreement to check details of the grant acquittal material you should provide.

The grant acquittal report is where you tell us:

how you spent your grant
what the artistic outcomes of your funded activity were.

If you do not provide a satisfactory grant report at the times and in the manner detailed in your funding agreement, we will not make any further payments that may be due to you, and you will not be eligible to apply for further grants.

If you do not provide a satisfactory grant report, we may ask you to pay back all or part of the funding provided to you.

We use grant reports to fulfil obligations of accountability to the Australian Government. They are also essential to the development work of Creative Australia. The reports help us evaluate the achievements of funded activities, monitor the effectiveness of grant categories and ensure our policy development is consistent with the experience of artists in the field.

Reporting for Multi-year Funded Organisations

Organisations in receipt of multi-year funding are required to submit financial, statistical, and artistic reporting on an annual basis.

All reporting is submitted online via our arts organisations reporting system.

If you are not sure what reporting you need to submit as part of your annual reporting, or what information to provide, please get in touch.

All recipients must acknowledge that Creative Australia provided funding for their activities. When you acquit your grant, we will ask you how you acknowledged us.

For printed or online material use our logo and this phrase:

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. OR,

(Company Name) is assisted by the Australian Government through the Creative Australia, its prinicipal arts investment and advisory body.

Logos for download.

Where projects do not have a public outcome, or do not produce any printed or online material, you will need to think about how best to acknowledge Creative Australia funding.

Biennale Delegates Program Participants

The program will facilitate exchange of ideas, catalyse new perspectives and support the seeding of future projects and collaborations.

About the program

A diverse group of 19 emerging creative and cultural workers from across Australia have been announced as participants of the Australia Council Biennale Delegates Program.

The program’s theme is ‘re(situate)’ and will focus on unpacking different biennale engagement approaches within an Australian and regional context. The participants will connect with artists and teams presenting the 59th International Art Exhibition of La Biennale di Venezia, Hawaiʻi Triennial, Documenta 15 and The Biennale of Sydney.

Participants will be guided through the program by Clothilde Bullen, Angie Abdilla, Léuli Eshrāghi, Khaled Sabsabi and Neha Kale. Through online gatherings and an in-person (NSW) residency to facilitate exchange of ideas, catalyse new perspectives and support the seeding of future projects and collaborations.

The 2022 Biennale Delegates Program is generously supported by state and territory partners including ArtsACT, Create NSW, Arts NT, Arts Queensland, Arts South Australia, Arts Tasmania and Creative Victoria and the Department of Local Government, Sport and Cultural Industries – Western Australia as well as the Cross Family Foundations.

2022 Delegates:

Yvette Dal Pozzo (ACT)
Chrischona Schmidt (NT)
Rebekah Raymond (NT)
Aleshia Lonsdale (NSW)
Eddie Abd (NSW)
Jazz Money (NSW)
Riana Head-Toussaint (NSW)
Mandy Quadrio (QLD)
Ruha Fifita (QLD)
Erin Davidson (SA)

Rayleen Forester (SA)
Sarra Tzijan (SA)
Theia Connell (TAS)
Claire G. Coleman (VIC)
Nikki Lam (VIC)
Sebastian Henry-Jones (VIC)
Esther McDowell/Yabini Kickett (WA)
Gok-Lim Finch (WA)
Rachel Ciesla (WA)

Note: click on images below to learn more about the delegates.

Learn more about Venice Biennale 2022

Contact

Tahmina Maskinyar

Project Manager, Venice Biennale

Phone

(02) 9215 9336

Email

t.maskinyar@creative.gov.au or venice@creative.gov.au.

International Engagement Strategy

Betty Grumble’s Enemies of Grooviness Eat Shit, produced by Performing Lines. Credit: Joseph Mayers Photography

The Australia Council’s International Engagement Strategy 2021-2025 was informed by national and international sector consultation, and an evaluation of the activity delivered under the Australia Council’s International Arts Strategy 2015-2020.

Read and download the strategy here.

Read our Impact Report here, which presents findings and insights from the evaluation.

We are committed to supporting Australian artists, creative workers and organisations to build and sustain international connections. Our work expands opportunities for engagement through hybrid and online activities while international travel is restricted.

Our vision is for Australian arts, culture and creativity to be thriving and to be known globally for its innovation, sustainability, complexity and diversity.

Our work strengthens the international profile, reputation, influence, and capability of the Australian cultural and creative sector. We aim to increase the discoverability, access and distribution of Australian cultural and creative content internationally and build the capability of artists to operate successfully in international contexts.

We deliver strong and purposeful advocacy for artists, and creative and market opportunities that create value. We foster people-to-people connections, and create opportunities for cultural exchange, expertise and knowledge sharing to showcase Australian creativity, culture and identity.

The priorities of the new strategy are, to:

rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection
leverage technologies and digital platforms for creation, distribution, networking, and increasing discoverability of Australian work
activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment
strengthen First Nations exchange that is First Nations-led and self-determined
amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia
diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers
foster risk-taking, experimentation and innovation in creation, distribution, connection and profile-building
centre equity and access and reflect Australia’s diversity
embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

Underpinned by the Australia Council’s Corporate Plan priorities, our work is responsive to emergent issues, trends, practices, circumstances and disruption; and to industry needs.

Contact

For International Engagement enquiries, please contact us at:

international@creative.gov.au

Our team

Asia Pacific
International Engagement Adviser: Janel Yau

North Asia
International Engagement Adviser: Chloe Li

Europe and the UK
International Engagement Adviser: Ellen Dwyer

North America
International Engagement Adviser: Karen Le Roy

Venice Biennale
Project Manager: Tahmina Maskinyar

Follow us

#AusCoInternational
#CreativityConnectsUs

While international borders have reopened, COVID-19 remains an ongoing global health risk.

Artists and creative workers should ensure duty of care, health and wellbeing, risk mitigation, travel restrictions, pre-departure testing requirements, and local conditions and restrictions are carefully considered while planning their international activities.

Applications to the Australia Council involving international travel must consider the Australian Government’s latest travel advice. Visit Smartraveller for more details and specific country information.

International

Download PDF Download RTF

Contact

For International Engagement Strategy enquiries:

international@creative.gov.au

All The Things We Couldn’t Say: Digital Theatremakers Program

^{Photograph courtesy: Checkpoint Theatre.}

About the opportunity

All The Things We Couldn’t Say is a three-year collaboration between Salamanca Arts Centre in Australia, and Checkpoint Theatre in Singapore. For the first year of the project (2022), we are seeking four participants (two from Tasmania and two from anywhere in else Australia) and two participants from Singapore to begin a process of contact, investigation, and digital collaboration.

Since the pandemic began, artists everywhere have experienced the mental, physical, and emotional consequences of having human contact withdrawn. Some of the questions this residency explores include:

How do we create moments of encounter and exchange between artists who are used to collaborating face-to-face?
How do we amend our artistic practice to create meaningful moments of contact between artists and audiences when physical gatherings are not possible, or are severely restricted?
How can we hold space for one another, hear each other’s stories, and be present for one another, with empathy, compassion, and kindness?

Eight participant artists (including two artists nominated from the Checkpoint Theatre ensemble) will meet digitally to begin exploring these questions. The process will be facilitated by Checkpoint Theatre’s Joint Artistic Directors Claire Wong and Huzir Sulaiman, and Salamanca Arts Centre’s Head of Performing Arts, Lucien Simon.

First Nations and Global diaspora-driven engagement is a priority of the International Engagement Strategy 2021-25 in amplifying our creative relationships in the Asia Pacific. 

All participants will receive an honorarium of AUD $2,000 payable by the Australia Council for their participation in year one of the development program.

Additional support needs including any accessibility support, interpreting and childcare will be provided on a case-by-case basis. We encourage you to speak to us about any specific access needs or support you may require to ensure you can equitably participate in this program.

Workshop 1 (all participants)
Monday 11 April – Thursday 14 April 2022, afternoons. Total 16 hours.
Small group meetings and independent work will be scheduled according to availability between 15 April and 23 May 2022. Total 24 hours.
Workshop 2 (all participants)
Monday 23 May – Thursday 27 May 2022, afternoons. Total 16 hours.

Total project hours: 56 hours

This program is designed for creative practitioners who are:

early or mid-career artists in Singapore or Australia. Applicants must be citizens or permanent residents of either country.
interested in meaningful Asia Pacific engagement, devising methodologies, and interdisciplinary work, with a demonstrated prior involvement with live theatre or performance. We invite applications from artists who work in creative and technical capacities including writing, directing, making, devising, performing, designing, staging, production, lighting, sound, digital and all their intersections.
open to committing to a long-term engagement including work on a new ensemble collaboration after the first year. The first year is focused on research and capability building.

This program is focused on process-based learning and collaboration. After year one, there will be an opportunity to further the engagement by making a work with Checkpoint Theatre if there is appetite from all parties. This is subject to an evaluation of the first year of the program. 

Applications will be assessed based on the strength of your responses to the following questions in the open-text field in the application form (500 words maximum in response to each question):

How has your personal or community experience of the pandemic affected the ways in which you think about theatremaking, and art in general?
What kinds of conversations and collaborations with fellow artists do you yearn for?

Australia Council staff in consultation with an Industry Adviser, Salamanca Arts Centre and Checkpoint Theatre will consider applications according to the assessment criteria above. Applicants will be advised of the outcome of their application in mid-December 2021.

You do not need to submit a budget or support letters for this program. To be uploaded along with your written application:

a copy of your CV or a link to your website
a link to an example of your previous work
a video submission with an introduction of yourself, your artistic practice and your typical approach to collaborative processes (no longer than 5 minutes) .

Applications must be submitted via the Australia Council’s online Application Management System (AMS). You will need to create an account to access the AMS, instructions for how to do this can be found on the landing page. Please note: You must be registered in our Application Management System in order to apply for a grant. Registrations take up to two business days to process.

Applications for International Engagement funding do not count as an application to the Australia Council Grants Program.

If you are applying as an organisation, please specify the staff member(s) who will participate in this activity as part of your application. If this changes, please notify us as early as possible as this may affect the status of your application.

The Australia Council encourages applications from applicants who identify as First Nations, Culturally and Linguistically Diverse (CaLD), people with deafness and/or disability, and people living in regional and remote areas.

Salamanca Arts Centre

Established in 1977 Salamanca Arts Centre (SAC) is the custodian of seven heritage buildings that are home to studio artists in-residence, numerous arts organisations working across various media, and designers, makers, retailers, and commercial galleries. SAC manages a suite of arts venues that showcase SAC’s produced and programmed events as well as their Access Program’s community and independent performances, exhibitions and other arts events.

Checkpoint Theatre

Established in 2002, Checkpoint Theatre is a company of multi-disciplinary storytellers, creating and presenting original Singapore content with strong writing, performance and direction, across different media, disciplines and platforms. With honesty and humour, head and heart, they produce and develop vibrant and important contemporary Asian stories that connect with, challenge, and inspire both local and international audiences. Checkpoint Theatre is the home of new Singapore playwriting and nurtures the next generation of Singapore theatremakers and creatives. Checkpoint Theatre is one of Singapore’s flagship arts companies under the National Arts Council Major Company scheme.

Key dates

Residency dates: April and May 2022

Hosts:
Salamanca Arts Centre, Australia, and
Checkpoint Theatre, Singapore.

Amount: AUD $2,000

Application closes: Tuesday 9 November at 3pm AEDT. The 3pm closing time falls within business hours. This allows staff to troubleshoot any issues and support applicants as the deadline approaches.

Notification: Mid-December 2021

Contact

Nithya Nagarajan, International Market Adviser, South and Southeast Asia on +61 (02) 9215 9324 or
n.nagarajan@creative.gov.au

International Arts Strategy Impact Report

The Impact Report presents key insights and findings from our evaluation of the activity delivered under the Australia Council’s International Arts Strategy 2015-2020.

Abdul-Rahman Abdullah, Pretty Beach, 2019, installation view, The National 2019: New Australian Art. Courtesy Museum of Contemporary Art Australia.

The Australia Council’s International Arts Strategy 2015-2020 Impact Report presents key insights and findings from our evaluation of the activity delivered under our International Arts Strategy 2015-2020. Read and download a copy of the report here.

The strategy detailed the objectives and approaches of our international development work. The strategy was informed by sector consultation and research the Council commissioned, as part of the delivery of the Council’s strategic plan for A Culturally Ambitious Nation (2014–19), which set the goal that ‘Australian arts are without borders’.

Delivery of the strategy required much learning and adaptation in response to changing conditions in the sector, the funding environment, and across the world. As well as the COVID-19 pandemic, the previous five years have seen increasing awareness of climate sustainable practice and shifting geo-politics. Rising calls within the sector for sustainable and decolonised practice have demanded consideration of new ways of working.

The findings in this report reflect necessary pivots and re-prioritisations throughout the strategy period. However, the predominant story is one of success, with the total spend of $8 million resulting in significant positive impacts across the strategy’s objectives.

International Curators Program: Asia Pacific Triennial x TarraWarra Biennial

^{Image caption: Gordon Hookey, Waanyi people, Australia b. 1961, MURRILAND! (detail) 2017, oil on canvas, 200 x 1000cm. Gifted by the citizens of the Gold Coast to future generations 2019. Collection: HOTA Gallery © Gordon Allan Hookey/Copyright Agency, 2021. Credit: Peter Waddington. Courtesy Queensland Art Gallery | Gallery of Modern Art (QAGOMA).}

Announcement

The Australia Council for the Arts is pleased to announce the participants in International Curators Program: Asia Pacific Triennial x TarraWarra Biennial:

Tina Baum
Caine Chennatt
Jens Cheung
Jessica Clark
Glenn Iseger-Pilkington
Shivanjani Lal
Georgia Mokak
Isobel Morphy-Walsh
Kate ten Buuren
Talia Smith
Aisyah Aaqil Sumito
Tian Zhang.

APT10 Interlocuters:

Farida Batool
Alethea Beetson
Kyongfa Che
Gridthiya Gaweewong
Tessa Maria Guazon
Emelihter Kihleng
Carol Yinghua Lu
Almagul Menlibayeva
Lingikoni Vaka’uta
Sau Bin Yap.

Internationally-based curators, creative and cultural producers interested in this program, please register your interest via email: international@creative.gov.au.

Call for applications from Australia-based curators, creative and cultural producers only.

Internationally-based curators, creative and cultural producers interested in this program, please register your interest via email: international@creative.gov.au.

About the program

Curators, creative and cultural producers who identify as First Nations and/or of the Asia Pacific diaspora based in Australia are invited to apply for funding support to participate in a series of online and in-person exchanges in partnership with the 10th Asia Pacific Triennial (APT10) in Brisbane in 2021-22 and TarraWarra Biennial in Healesville in 2023.

This initiative broadens the scope of the Australia Council’s long-running International Curators Program, to provide facilitated opportunities for cultural exchange, professional network, skills and creative development, connecting Australian and international curators, creative and cultural producers, and artists, alongside major exhibition platforms in Australia.

The International Curators Program: Asia Pacific Triennial x TarraWarra Biennial is imagined in the spaces between the hyperlocal, the regional and the transnational.

Aligned with APT10 and TarraWarra Biennial opening, industry and public programs, online and in-person exchanges may include exhibition walkthroughs, virtual and in-person studio visits with Australian and international artists, industry and public programs, performances, workshops, networking with international interlocutors and curators, and unmediated peer-to-peer exchange and mentoring.

The Australia Council invites applications from curators, creative and cultural producers at any career-stage interested in alterity, collectivity, solidarity, futurity and the potent relationships between art and the contemporary realities of the Asia Pacific region.

This program is for Australia-based curators, creative and cultural producers who identify as First Nations and/or of the Asia Pacific diaspora and meet the following requirements:

at any stage of your career – with a minimum of five years experience
are interested in implementing change in arts practice towards methodologies that embed reciprocity, sustainability and connection within and/or outside of institutional spaces
desire to respond to shared global challenges to benefit Australian creative practices and self-determined international engagement
wish to identify future projects or collaborations within the Asia Pacific region

We are committed to providing a program that offers inclusive, self-determined and safe participation.

Who can apply

You can apply if:

you are based in Australia
you are an individual or group
you identify as First Nations and/or of the Asia Pacific diaspora

Who can’t apply

You can’t apply if:

you have an overdue grant report to the Australia Council
you owe money to the Australia Council
you are an organisation

We encourage applications from Australia-based applicants regardless of your citizenship or residency status. For example, foreign nationals based in Australia on temporary visas are encouraged to apply.

Applications will be assessed by Australia Council staff and industry advisers against the following assessment criteria:

Relevance: The timeliness and impact of the program for the applicant.

Leadership: An active and/or reflective approach to Australian and international visual arts practice and/or sector development.

Applicants will be notified of the outcome of their application approximately four weeks after the closing date.

Prepare a single pdf file or a link to an audio file or a video file responding to the following three (3) questions:

Tell us about your practice and your lines of enquiry in the current moment. (250 words maximum)
Identify a contemporary current in the Asia Pacific you wish to explore. (250 words maximum)
What is the timeliness and relevance of this program and its imagined impacts on your practice, cultural work and/or career trajectory? (250 words maximum)

Audio and video submissions should be a maximum of three (3) minutes in length.

Please upload PDF, audio or video submissions under the support material section of the application form. Audio and video format submissions are not mandatory but encouraged.

You are also required to attach at least one of the following support material:

A one-page CV illustrating your work experience and involvement in relevant projects.
A link or single page of one example of a project or activity you have completed that is relevant to the program.

Please refer to our How to apply page for further information and guidance on support material upload requirements.

Priya Namana

Priya Namana is an Indian contemporary artist living and working on the unceded lands of the people of the Kulin Nations in Naarm. Her practice is enquiry-based and asks emergent questions in the present to probe into possible future ecologies. Led by the sensual and excited by the psychology and perception of image and sound as sensory modes for receiving information, her works are explorative and investigate the politics of what is unseen, intangible and unheard. Underpinned by feminist thinking, her world and meaning making embody decolonized speculative futures. These hybrid propositional spaces express rhizomatic structures that decentralize anthropocentric approaches.

She has applied this practice based and research framework within different collaborations and community engagement contexts in Australia and Asia.

Queensland Art Gallery | Gallery of Modern Art (QAGOMA)

Tarun Nagesh, Curatorial Manager, Asian & Pacific Art

Tarun Nagesh is Curatorial Manager, Asian and Pacific Art, at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in Brisbane, Australia. He is part of the lead curatorial team of the Asia Pacific Triennial of Contemporary Art (APT), and has worked on the 7th, 8^th, 9^th and 10th editions. Tarun also regularly curates exhibitions for QAGOMA, including recent projects Problem-Wisdom: Thai Art in the 1990s; A Fleeting Bloom: Japanese Art from the Collection; KalpaVriksha: Contemporary Indigenous and Vernacular Art of India (as part of APT8); Political Parody in Indonesian Art; and Indo Pop: Contemporary Indonesian Art.

Tarun regularly curates exhibitions outside of the APT, is actively involved in commissions and acquisitions for the QAGOMA collection and also oversees QAGOMA’s historical Asian Art collection and exhibitions. He is a regular contributor to journals and exhibition publications in Australia, is a state representative of the The Asian Arts Society of Australia, a member of the national Asian Art Provenance and is a Board member of the Institute of Modern Art (IMA) in Brisbane.

TarraWarra Museum of Art

Dr Léuli Eshrāghi, Curator, TarraWarra Biennial 2023

Léuli Eshrāghi is a Sāmoan/Persian/Cantonese interdisciplinary artist, writer, curator and researcher working between Australia and Canada. Ia/they intervene in display territories to centre global Indigenous and Asian diasporic visuality, sensual and spoken languages, and ceremonial-political practices. Through performance, moving image, writing and installation, la/they engage with Indigenous futurities as haunted by ongoing militourist and missionary violences that once erased faʻafafine-faʻatane people from kinship and knowledge structures. Ia/they contribute to growing international critical practice across the Great Ocean and North America through residencies, exhibitions, publications, courses and rights advocacy.

Delivered in partnership with Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and TarraWarra Museum of Art.

This program is a co-investment initiative with the Department of Foreign Affairs and Trade (DFAT), with support from the National Foundation for Australia-China Relations, Culture and the Arts WA through Department of Local Government, Sport and Cultural Industries and Creative Victoria.

International

Key Dates

Applications open: Tuesday 14 September 2021

Applications close: Tuesday 12 October 2021 at 3pm AEDT

Notification: November 2021

Grant amount: $6000 AUD for participation and travel costs.

Accommodation in Brisbane and Healesville for participants will be covered separately by the Australia Council, if travel is possible at the time of the program dates.

Program dates

2-6 December 2021, online
March-April, in-person (Brisbane) and online
October 2022, online
March 2023 , in-person (Healesville) and online

(exact dates to be confirmed)

The 3pm closing time falls within business hours. This allows staff to troubleshoot any issues and support applicants as the deadline approaches.

Please note: To apply you must be registered in our application management system a minimum of two business days prior to the closing date.

Contact

For International Engagement Strategy enquiries:

international@creative.gov.au

FAQs

Yes, but the grant amount will have to be shared between nominated members of the collective and the participation shared proportionately.

The time commitment per participant is: four in-person or online gatherings between December 2021 and April 2023.

Each gathering will be between approximately two and four days long.

You will need to commit to up to 12 days of engagement with the program in total.

The program will be designed for hybrid delivery, with in-person and online activities. In-person participation in Brisbane during APT10 and Healesville during the TarraWarra Biennial are a condition of funding (subject to COVID-19 travel restrictions).

Yes, applicants will be eligible to apply for the International Engagement Fund, for outcomes arising from program, in addition to the Australia Council’s main grants program.

Additional support relating to accessibility, interpreting and/or childcare requirements will be provided on a case by case basis. We encourage you to speak to us about any specific access needs, or support you may require to ensure you can equitably participate in this program.

Helsinki International Artist Programme (HIAP)

This three-month residency offers $12,500 plus time and space for open-ended research and experimentation.

Image caption: HIAP Suomenlinna. Credit: Sirja Moberg.

About the opportunity

Founded in 1998, HIAP – Helsinki International Artist Programme – is the largest international residency centre in the Nordic and Baltic region. Every year up to 40 artists and arts professionals residing in Finland and abroad are offered a working period at HIAP.

With $12,500 in funding, this three-month residency program offers time and space for open-ended research and experimentation, without the requirement to produce finalised work. The HIAP residency venues are located on Suomenlinna island, a UNESCO World Heritage Site located a 15-minute ferry ride away from the centre of Helsinki, and in the Cable Factory cultural complex in Helsinki.

The HIAP residency program focuses on visual arts, however, it is open to artists and curators from various disciplines. Collaborating with local and international partner organisations, residencies extend to such creative fields as dance, theatre, literature, and music. The activities are organised predominantly through thematic residency programs that highlight a geographical area or concentrate on a specific contemporary topic or an aspect of artistic practice.

The HIAP residency program offers time and support for developing new work in dialogue with the local art scene. The goal is to offer space for experimental, cross-disciplinary art practices and to actively contribute to topical debates within and around the context of art.

The HIAP team help the residents with their research as well as practical everyday matters. Residents have access to services such as weekly residency community meetings, facilities and equipment, and the option to take part in the HIAP Open Studios event. This normally takes place towards the end of each residency season and is an opportunity to present work-in-progress to arts professionals and the general public.

If you need advice about your application, contact an Artists Services Officer.

Information pack: Download PDF.

Meet this year’s participants

Caitlin Franzmann

Caitlin Franzmann

Caitlin Franzmann is a Meanjin/Brisbane based artist who creates installations, participatory works and performances that explore ethics of learning with, and caring for, the environment. She is interested in understanding how histories and the influencing forces of power and care, shape places, cultures, and ecosystems. In reaction to the fast pace and sensory overstimulation of contemporary urban life, she invites people to slow down, gather, listen, and contemplate interactions with their surroundings and with other living entities. Since 2018 Caitlin has worked with Ensayos, a collective research practice working on issues of political ecology in Tierra del Fuego and other archipelagos.

Simon Lawrie

Simon Lawrie

Simon Lawrie is an independent curator and writer focused on spatial practice, public art commissions and site-responsive projects. His approach often aims to articulate and augment the experience of place, working closely with artists across sculpture, sound, installation, film, and performance to explore tensions between integration and intervention within a given context. Based in Melbourne, Lawrie completed a Bachelor of Fine Arts in Painting and a Master of Art Curatorship at University of Melbourne. Major exhibitions include Lorne Sculpture Biennale 2025 (current); Site and sound: sonic art as ecological practice (2021); and Solid light: Josef Stanislaw Ostoja-Kotkowski (2019).

Only individuals may apply to this category.
You must be a practicing artist or arts worker and an Australian citizen or an Australian permanent resident.

Who can’t apply

You can’t apply if:

You received a grant, or administered a grant, from us in the past and that grant has not been satisfactorily acquitted
You owe money to Creative Australia
We will not accept applications from legally constituted organisations.

Our staff and industry advisors in consultation with HIAP will consider applications according to the assessment criteria. Successful applicants will be notified of the outcome of their application by mid-October 2024.

Applicants must address the following assessment criteria:

Artistic merit

suitability of your practice to the residency program and its artistic environment/offer
quality of work previously produced, and public and peer response to your work.

Viability

suitability of your proposal to the residency program
the skills and artistic ability of your collaborators (if applicable) and their relevance to the proposed activity
realistic and achievable planning, resource use and evaluation.

Impact on career

how the proposed activity strengthens your artistic practice
the relevance and timeliness of the proposed activity
how the proposed activity strengthens your capacity as an arts professional, particularly in relation to international development and collaboration.

You should submit support material with your application. Assessors may review this support material to help them gain a better sense of your project.

What you should provide

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact us.

There are three types of support material you may submit:

1. Artistic support material

This should include relevant, recent examples of your artistic or cultural work.

Types of support material we accept

Our preferred method of receiving support material is via URLs (weblinks).

You can provide up to three URLs (weblinks) that link to content that is relevant to your proposal. This may include video, audio, images, or written material.

These URLs can include a total of:

10 minutes of video and/or audio recording
10 images
10 pages of written material (for example, excerpts of literary writing).

Please note: Our assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

If you are linking to media files that are private or password protected like Vimeo, please provide the password in the password field on the application form.

Other accepted file formats

If you cannot supply support material via URLs, you may upload support material to your application in the following formats:

video (MP4, QuickTime, and Windows Media)
audio (MP3 and Windows Media)
images (JPEG and PowerPoint)
written material (Word and PDF).

2. Biographies and CVs

You can include a brief bio or curriculum vitae (CV) for key artists, personnel or other collaborators involved in your project.

Brief bios or CV information should be presented as a single document no longer than two A4 pages in total.

3. Letters of support

You can include up to five letters of support, with each letter not exceeding one A4 page.

The selected residents stay in a HIAP Suomenlinna atelier apartment. The residency spaces are in the Palmstierna studio complex, a renovated two-storey red-brick barrack from the 18th century, currently housing nine residential units (five atelier apartments and four regular apartments) and one workspace for artists.

The HIAP Suomenlinna atelier apartments are approx. 80 sqm each, furnished, and divided into a working space downstairs and a separate living space with bathroom and fully equipped kitchenette upstairs. The atelier apartments feature two single beds and a sofa-bed and can accommodate a family up to three persons. Bedding, linen, and towels are provided. The atelier apartments have a wireless internet connection. You can see some of the residency spaces here.

It is possible to access the ground floor of the HIAP atelier apartments, office, Gallery Augusta & Project Space by wheelchair, but HIAP recommend wheelchair users be accompanied by a person assisting because the entrance doors are not step-free. The living area of the two-story atelier apartments is accessible only via staircase (approx. 19 steps), and not accessible by wheelchair. The toilets are not spacious enough to meet accessibility standards. Despite this, HIAP are happy to help you plan your residency. Please contact HIAP to discuss your access needs and receive additional information. You can also find further details on accessibility in the information pack.

Family members and guests are welcome in all HIAP’s locations. The atelier apartment can accommodate a family of two adults with up to two small children. The set up of the apartment cannot accommodate artists living together outside of a family situation. Please note that pets are not allowed in the rooms.

Your application must comply with the following Protocols. We may contact you to request further information during the assessment process, or if successful, as a condition of your funding.

Protocols for using First Nations Cultural and Intellectual Property in the Arts

Commonwealth Child Safe Framework

2022-2023

Sarah Rodigari
Make or Break
Helen Svoboda

2021-2022

Francoise Lane
Sumugan Sivanesan

2020-2021

Rebekah (Bek) Berger
Joshua Pether

2019-2020

Rhiannon Newton
Judith Hamann
Sarah Aiken
Courtney Coombs

2018-2019

Loren Kronemyer
Lisa Hilli
Tamara Searle
Caitlin Yardley

2017-2018

Laith McGregor
Tessa Rapaport
Natalie Abbott
Matt Shilcock

International

Key Dates

Applications closed

Notification date: mid-October 2024

Length of residency: 3 month

Location: Helsinki, Finland

Amount: $12,500

Art form: First Nations Arts, Community Arts and Cultural Development, Dance, Emerging and Experimental Arts, Literature, Music, Theatre, Visual Arts

Residency dates:

14 April to 14 July 2025
19 August to 17 November 2025

Helsinki International Artist Programme
website.

Information pack: learn more about the studio, accommodation, local area, and travel arrangements by
downloading the PDF of the information pack.

If you have a question, or need help with your application, please call or email Artists Services.

Please note: To apply you must be registered in our application management system a minimum of two business days prior to the closing date. Technical and administrative support will not be available after 5pm on the closing date.

Contact

Ellen Dwyer
International Engagement Adviser, Europe
+61 2 9215 9051
ellen.dwyer@creative.gov.au

Frequently Asked Questions

Unless stated otherwise in the program description, all residencies are offered for fixed dates and periods of time.

Yes, but this will be at your own cost and we will not be able to provide additional funds towards the extension.

No. You are not required to provide a budget with your application.

There is no requirement for you to provide a timetable of your activities, unless stated otherwise in the individual residency program guidelines.

Yes. If successful, you are required to take out travel insurance for the duration of your residency. It is recommended you pay for this from your grant.

The capacity to accommodate children and partners varies for different residencies. Please check the program descriptions for specific requirements. Please note that the programs are limited to the participating artist only and have various limitations e.g. communal living and/or working space or modest living quarters.

Yes, the grant to an individual that accompanies a residency is considered income and taxable. Please visit the Australian Taxation Office website for more information.

The International Residencies Program is dynamic and responsive and the programs on offer may vary from year to year.

There is no limit to the number of international residencies applications you can submit. However, you will need to consider how the assessors will perceive your commitment to a particular residency program and/or market if you have applied for multiple residencies. Each residency requires you to submit a separate application form. Please note, applications to International Engagement funding opportunities do not count as an application to the Creative Australia Grants Program.

Yes, as long as you have satisfactorily acquitted the previous residency grant.

The grant is not intended to cover lost income or rent at home and applicants will need to consider their capacity to undertake the residency prior to applying.

The grant is a contribution from Creative Australia toward your travel (including airfares and travel insurance) and living costs during the residency period. Applicants are expected to research the cost of living in the residency location they are travelling to. You may need to supplement the grant with your own funds depending on your projected costs for the residency period.

We cannot provide any advice on visa or immigration matters. You must contact the relevant country’s visa service to get current information. We suggest you allow plenty of time to apply for all international visas.

Australia Pavilion Invigilation Program – Venice Biennale 2022

Announcement

Meet the program participants

A diverse group 14 Australian creative and cultural workers living in Europe and the United Kingdom will oversee the day-to-day visitor experience of Marco Fusinato’s exhibition during the Venice Biennale, curated by Alexie Glass-Kantor.

Participants will advance their exhibition invigilation and arts administration skills, be exposed to different approaches to contemporary visual arts practice, and build networks.

Laura Carey is an arts worker, educator and artist. Laura has over 10 years of experience working across galleries, events, public engagement, and education. Her organisational experience has ranged from artist-run gallery spaces in her hometown of Dublin, community-based galleries in Sydney to key cultural institutions.

Most recently, Laura has been managing the creative learning team and the operation of the National Centre for Creative Learning at the Museum of Contemporary Art. Laura is also the co-founder of a newly formed engagement-focused partnership FLENK collective that connects audiences with contemporary art and artists.

In 2018, Laura collaborated with international artist Ciara Phillips to deliver her 2016 Biennale of Sydney participatory installation and print studio “Workshop 2010 -ongoing”. Laura holds a BFA Hons (National College of Art & Design, Dublin) and later continued graduate studies at UNSW Art & Design Sydney.

Joel Mu is a curator and writer living in Berlin. He studied philosophy, contemporary art-theory and art-history and curating performance in Sydney, Munich and Salzburg. Joel has worked for many years in the context of visual and performing arts, at times in international museums and galleries, as well as guest curator for the DAAD Artists-in-Berlin Programme, the Schinkel Pavillon and KW Institute for Contemporary Art.

Since 2015 he has been programming his own project space @groupsandindividuals, in Berlin. He writes about artists who follow atypical paths in life and art and is the author of Jupiter: Andreas Sell ‘Life Performance’ (BOM DIA, 2020), an artist monograph realised with funding from the Berlin Senate, Department of Culture and Europe. Joel Mu was born on Larrakia country and acknowledges the Larrakia people as the Traditional Owners of the Darwin region of northern Australia.

Penelope Cain is an artist with a research science background. She works with landscape in its widest definition, in particular the colonised, extracted and transformed landscapes of the Anthropocene and post-human. Cain’s art practice is located interstitially between scientific knowledge and unearthing connective untold narratives in the world; using video, installation, objects, flags, text, public participation in storytellings about the lands of the Anthropocene.

Across 2021 she has been researching the connection between lyrebirds impacted by climate-change associated forest-fires in Australia, and the effect of ash from these fires on glacier longevity in the New Zealand Southern Alps/ Kā Tiritiri o te Moana, working towards a sonic performance for three voices; lyrebirds, glaciers + snow algae.

Her work has been exhibited in commissioned and curated exhibitions nationally and internationally in Brazil, Britain, Australia, Taiwan, China and Korea. Most recently she has been awarded the S+T+ARTS Repairing the Present fellowship in The Hague (2022), working with urban lichen.

Francis Carmody is an Artist working between Melbourne and London.

Carmody’s work is presented as products of distribution and power structures characterised by a wide range of forms, objects, actions and promiscuous research methodologies. Enacted by an initial action from the artist or a constructed model to be carried out by someone else, administrative and hysterical steps are rehearsed to realise projects.

In 2022 Carmody will begin a residency at Gertrude Contemporary as a Studio Artist.

Luke Conroy is a Tasmanian multidisciplinary artist currently based in The Netherlands. With a sociology and arts education background, Luke’s artistic practice engages with socio-cultural topics in meaningful yet playful ways, utilising humour and irony as essential tools for critical reflection and expression. The outcome of his work utilises an ever-evolving multimedia and audio-visual practice which includes photography, digital-art, video, sound, VR, textile, text and installation.

Luke currently works full time in an artist duo alongside the Dutch audio-visual designer and visual artist Anne Fehres. Working together since 2018, the duo specialises in undertaking socially oriented projects. These projects are the outcome of embedding themselves in a diversity of community contexts for between four to twelve weeks. To date, the duo has been selected for artist residencies across ten different countries and exhibited their work in multiple solo and group shows in galleries and public spaces across Europe.

Julian Day is an artist, composer, and writer who uses sound as a social and civic practice that reveals hidden power dynamics by stealth. This plays out within individual artworks (performance, sculpture, video) and in ongoing initiatives such as Super Critical Mass, a ‘radical orchestra’ project that reimagines the ensemble as a participatory vehicle for interaction.

Day has presented work at Whitechapel Gallery, Royal Academy of Music, Bang On A Can, Jewish Museum, Fridman Gallery, Sydney Opera House, Museum of Contemporary Art Australia, Australian Centre for Contemporary Art, Queensland Art Gallery of Modern Art, Institute of Modern Art, and MONA.

Day has created many programs for ABC radio, interviewing such artists as Janet Cardiff, Laurie Anderson, and Pauline Oliveros, and has given presentations at Harvard University, UCLA, and Goldsmiths. Day recently completed their MFA at Columbia University and is now studying at the University of Oxford’s Ruskin School of Art.

Daniel Green is an artist, educator and producer living in London, United Kingdom. His artistic practice explores the objects and media we use to occupy our time, and how they are used to give our lives meaning.

Daniel’s work has been exhibited within Campbelltown Arts Centre, Runway Journal, Firstdraft, Pelt, Artspace and BUS Projects, and has performed at Electrofringe, The Now Now Festival, Liquid Architecture, Cementa and the Museum of Contemporary Art Australia.

Daniel was a co-director of the artist-run initiatives Firstdraft between 2005-2006 and Electrofringe in 2009-2010. He produced the Sydney Mini Maker Faire at the Powerhouse Museum between 2013-2016, and helped inaugurate the Young Creators Conference in 2016.

Jolyon Jones is an artist based currently in Berlin, where he has been studying fine arts at the University of Arts, Berlin since 2019. Simultaneous with completing his bachelor’s degree in Anthropology at Macquarie University, Jolyon became involved in various collaborative arts projects and exhibitions, all of which took place on Darug and Gadigal land.

Jolyon has been a practising artist for four years and has shown in Australia and Germany. Working between sculpture, drawing, video, and sound Jolyon seeks to interrogate the relationship between physical materials and the concept of memento as well as the consequences of narrative in charging and disarming the objects they possess.

Ella Judd is an emerging arts worker and artist who graduated with a Bachelor of Visual Arts from The University of Sydney in 2016. Since graduating, she has exhibited in multiple group shows and worked in cultural organisations in Sydney, Australia and Toronto, Canada. She has held a range of museum education and arts programming roles at the Art Gallery of Ontario, Academy of Canadian Cinema & Television, Australian Museum, Sydney Living Museums and Australian National Maritime Museum.

Ella is currently studying a Graduate Diploma in Early Childhood Teaching at The University of Melbourne and values the importance of facilitating connections between audiences of all ages and contemporary art.

Julius Killerby is an artist living and working in London. His work focuses on the psychological ripple effects of certain cultural and societal transformations. Part of Julius’ practice also includes portraiture and in 2017 was nominated as a finalist in the Archibald Prize for my portrait of Paul Little. His work has been exhibited at the VCA Art Space, the Art Gallery of New South Wales, the Art Gallery of Ballarat and Lumen Gallery.

Julius has 5 years of experience working within a team environment at three of Melbourne’s galleries, where he has co-curated, hung, and promoted over 30 exhibitions across a variety of media. He has also been invited to partake in a variety of educational outreach programs. Some of these include artist talks at several secondary schools as well as an ‘In Conversation’ with Richard Lewer and Lisa Sullivan on the relationship between Art and Philanthropy at Geelong Gallery.”

Beau Lai (formerly Lilly) is an artist and writer currently based in Paris, France. Beau spent their formative years working intensively within the contemporary arts industry on Darug and Gadigal land in so called Australia. They are most well known for self-publishing their essay and work of institutional critique, “Working at the Museum of Contemporary Art Australia. It does not exist in a vacuum”, in 2020.

Additionally, Beau has been a practising artist for 6 years and has exhibited across France, South Korea, Thailand and Australia. They envisage their works as acts of forging familial connections, through realising overt, self-indulgent fantasies of unified alternative realities. Through video, performance and installation, they aim to investigate the intentions behind making art as more than a spectacle or performative gesture within the structures of the gallery space.

They tried to obtain a Bachelors in Fine Arts at Paris College of Art but didn’t like it and dropped out.

Jessie Nash is an emerging artist and arts worker who seeks to provide for her surrounding arts communities, through a focus on accessibility, curiosity, and visitor experience. Most recently based on Bundjalung country in Northern NSW, Jessie has worked for the Institute of Modern Art, Australian Centre for Contemporary Art, and has worked in the drawing department at Queensland College of Art as a tutor.

Martyn Reyes is a Filipino-Australian writer and artist. He explores various intersections of identity in the form of creative nonfiction. This includes but is not limited to themes such as race, sexuality, gender, class, mental health and pop culture. His essays, articles, interviews and memoir has been published in the Sydney Review of Books, SBS Voices, Peril Magazine, LIMINAL Magazine and more. Martyn holds a BA in Communication from the University of Technology Sydney

Martyn has participated in literary development programs such as the WestWords Academy and The Writing Zone by the Writing and Society Research Centre at Western Sydney University. In addition to writing, he has a passion for creating and producing audio content. He was previously the host of FBi Radio’s Sunday Lunch (2018-2019) and produced stories for All The Best, Canvas and The ReReaders podcast.

In 2020, Martyn exhibited his video artwork ‘Ikaw Ang Ligaya Ko’ at PARI, Parramatta.

As a projection artist, Carla Zimbler distorts digitised fragments of her surroundings to alter perception and trigger sensory response. Working between on/offline environments, audiences are drawn into immersive spaces where sound-responsive visuals expand and dissolve into darkness.

Exploring the therapeutic qualities of colour and its impact, Carla siphons vivid light across interior/exterior architecture and soaks sculptural forms in rich textures as a live performative experience. Embracing projection mapping as an artistic device to induce shared emotion, she kindles desire for an otherworldly place of belonging.

Utilising creative technology and textiles to reposition the body in two concurrent realities, Carla shifts orientation, time and perspective to warp memory, redefine spatial boundaries and transcend the everyday. She invites audiences to question connectedness permanence and contemplate the intricacies of the micro/macro worlds we exist in.

Carla’s site-specific installations examine how light binds and separates, obscures and awakens.

About the program

For the Venice Biennale 2022, the Australia Council is inviting applications for invigilators of the exhibition in the Australia Pavilion.

Marco Fusinato is the artist commissioned for Australia’s national representation at the Venice Biennale 2022. The exhibition is curated by Alexie Glass-Kantor. Read more about the 2022 artistic team here.

The Australia Pavilion invigilation program is a professional development opportunity open to Australian citizens, based in Europe or the United Kingdom. The program provides development and opportunities for Australian’s based abroad during this challenging time.

Participants will:

advance their skills in exhibition invigilation and arts administration;
be exposed to different approaches to contemporary visual arts practice; and
build networks that aim to foster future collaborations and exchanges.

The Venice project team will work with participants to co-design additional professional development activities to expand upon the invigilation experience of the Australia Pavilion.

We are offering two types of placements for the program:

A leadership opportunity to oversee the daily operations and management of the invigilation team during the Venice Biennale 2022. The role will be responsible for maintaining a consistently high level of service to a large volume of visiting public and ensure a presentable, secure, operable Australia Pavilion.

The Attendant Manager will be the critical on-the-ground interface for visitors and audiences to the Australia Pavilion and Marco Fusinato’s exhibition. They will also advocate for the Australian visual arts sector, engaging with other national pavilions and key delegates visiting the Australia Pavilion.

There are two Attendant Manager positions rostered for a period of 17 weeks over the length of the exhibition (23 April – 27 November 2022). Successful applicants will take part in an induction prior to commencement.

The Attendant Manager will report directly to nominated Australia Council staff working on the Australia at Venice project. The role will manage the Pavilion Attendants.

For more details about the Attendant Manager role, including key responsibilities, and requirements, please see the Invigilation Program Role Overview page.

Pavilion Attendants take on a supporting role, assisting the Attendant Manager with the daily operations of the Australia Pavilion during the Venice Biennale 2022. They will be responsible for direct exhibition invigilation and communicating the significance of Marco Fusinato’s practice to visitors.

Each day, Pavilion Attendents will be required to ensure all installation components are in good working order and ensure the overall presentation of the exhibition meets high standards.

Pavilion Attendant positions will be assigned to a rostered period of six weeks over the length of the exhibition (23 April – 27 November 2022). Each successful applicant will be expected to take part in an induction prior to commencement.

Pavilion Attendants report directly to the Attendant Manager and are supported by the Australia Council Venice project team through fortnightly check-ins.

For more details about the Pavilion Attendant role, including key responsibilities please see the Invigilation Program Role Overview page.

These placements are suitable for creative and cultural workers with knowledge and experience of contemporary visual art. Proficiency in Italian or other languages is desirable.

The nature of the Venice Biennale presents unique challenges for exhibition monitoring and invigilation. Successful applicants will be expected to have a flexible ‘can-do’ approach to the environment and to the challenges associated with living and working in Venice.

We encourage applications from all parts of of the visual arts industry. This includes but is not limited to artists, cultural producers, arts administrators, technical producers, artists, engagement and development coordinators and curators.

We recognise the privilege of international engagement can be inaccessible to people with lived experiences of marginalisation. We are committed to providing additional support to ensure inclusive and safe participation for First Nations peoples, culturally and linguistically diverse people, people with disability, LGBTIQA+ people, regionally based people and the intersections across these.

We encourage you to speak to us about any specific access needs or support you may require to assist your participation in this program.

It is the responsibility of the applicant to seek all relevant visa clearances to support their participation in the program.

The Micro-grants for the Australia Pavilion Invigilation program are generously supported by the Cross Family Foundations.

€20,000 for 17 weeks of engagement.
Micro-grant of €600 to support additional professional development activities.
Reimbursement for economy return travel to Venice (maximum €450).
Reimbursement for relevant first aid training.

You will need to arrange and pay for:

Accommodation (the Australia Council can assist with options).
Travel insurance (you will need to provide proof of cover).
Any additional costs in excess of the support listed above.

€2,800 for six weeks of engagement.
Micro-grant of €300 to support additional professional development activities.
Reimbursement for economy return travel to Venice (maximum €450).
Accommodation in a shared apartment (private room)

You will need to arrange and pay for:

Travel insurance (you will need to provide proof of cover).
Any additional costs in excess of the support.

You can apply if:

you are an Australian citizen
you are based in Europe or the United Kingdom
you are an individual.

Click on the ‘Apply Now’ button at the top of this page.

The application form will require you to identify the placement you are applying for. You can only apply for one type of placement.

The application form requires you to nominate your preferred participation timeframe:

Mid April – mid August 2022 *you will be involved with vernissage
Mid August to end November 2022 *you will be involved with deinstall

Support material items:

A short introductory video (maximum 90 seconds). Introduce yourself and tell us why you are interested in this opportunity.
A maximum two-page pdf file responding to the following selection criteria:
- Experience in leading and managing a team within the creative and cultural industries. (150 words)
- Operational and technical ability with reporting, maintenance, invigilation (including security) and daily risk management of exhibitions. (150 words)
- Relevant customer service, communication and audience engagement skills. (150 words)
- Interest, advocacy or connection to Australian visual arts practice. (150 words)
- Connection to or interest in Marco Fusinato’s artistic practice. (150 words)

A maximum two-page CV illustrating relevant work experience, including the contact details of two referees

Please also state in your CV if you have;

Fluency in other languages (Italian is highly desirable).
Tertiary qualifications in Visual Arts, Art History, Art Theory or Arts Administration (desirable).
Demonstrated ability to work with Microsoft products and SharePoint (highly desirable).
Technical experience with audio visual exhibitions (highly desirable).

The application form requires you to nominate a minimum of two preferred participation timeframes for 2022:

session one: 15 April to 29 May (6 weeks) *you will be involved with vernissage
session two: 27 May to 10 July (6 weeks)
session three: 8 July to 21 August (6 weeks)
session four: 19 August to 2 October (6 weeks)
session five: 21 October to 4 December (6 weeks) *you will be involved with deinstall.

Support material items:

A short introductory video (maximum three minutes) Introduce yourself and tell us why you are interested in this opportunity.
A maximum one-page pdf file responding to the following selection criteria:
Relevant experience in a team environment, in the visual arts sector, with an operational skill set for reporting, maintaining and monitoring the security and daily risk management of audio visual exhibitions. (150 words)
Experience with customer service, communication and audience engagement skills. (150 words)
Interest, advocacy or connection to Australian visual arts practice. (150 words)
A maximum two-page CV illustrating relevant work experience, including the contact details of two referees.

Please also include in your CV if you have:

Fluency in other languages (Italian is highly desirable).
Tertiary qualifications in Visual Arts, Art History, Art Theory or Arts Administration.
Demonstrated ability to work with Microsoft products and SharePoint (highly desirable).
Technical experience with audio visual exhibitions (highly desirable).

Please refer to our How to apply page for further information and guidance on support material upload requirements.

Applications will be assessed by Australia Council staff.

Council will assess applications against the following assessment criteria:

Relevance: Relevant skills and capacity to support the invigilation of the pavilion.
Leadership: An active and/or reflective approach to Australian and international visual arts practice and/or sector development.

Assessments will be completed in a two step process:

Stage 1: Internal shortlist by Australia Council staff.
Stage 2: Shortlisted applicant interviews by Australia Council Venice project team (December 2022).

Notification: Early January 2022

Key dates

Applications closed: 19 October 2021 (3pm CEST)

Notification: Early January 2022

Program dates:

Introductions (digital): February 2022
Period of activity: TBD based on availability between 18 April and 30 November 2022.

Venice Biennale 2022

Please note: To apply you must be registered in our application management system a minimum of two business days prior to the closing date.

You will be notified of the outcome of their application approximately 10 weeks after the closing date.

Contact

Tahmina Maskinyar

Project Manager, Venice Biennale

Phone

(02) 9215 9336

Email

t.maskinyar@creative.gov.au or venice@creative.gov.au.

Frequently asked questions

Manage the Pavilion Attendants

Manage the diverse team of Pavilion Attendants (PA) including:
- supervision and coordination of the PA roster
- delivering and delegating daily priorities such as cleaning and maintenance
- human resource topics, including wellbeing and safety, with the support of the Pavilion Supervisor and the Australia Council project team
Encourage the PAs to use this opportunity to network and connect with other national pavilions.

Reporting and risk management.

Provide a detailed weekly report, including risk management and accurately recorded visitor numbers, to the Australia Council project team.
This role reports to the Project Manager, Venice Biennale on all matters. Maintain clear and ongoing communications in relation to all aspects of exhibition monitoring, visitor attendance, the Pavilion invigilation team, and media issues including escalating urgent issues as required.

Manage the exhibition in the Australian Pavilion

Monitor and check the security and technical operability of the exhibition artworks and venue on a daily basis.
Coordinate the opening and closing of the Australian Pavilion, within the appointed Giardini opening hours.
Maintain clear and ongoing communications with the Pavilion Supervisor regarding exhibition monitoring and security, venue maintenance, any staffing changes or human resource requirements.
Facilitate and action requests from the Artistic team and Australia Council project team.
Coordinate petty cash and keep detailed financial records.

Audience engagement

Research and communicate the practice and importance of Marco Fusinato’s work, and Australian contemporary visual arts, to an international audience.
Coordinate the public program with the Artistic team and Australia Council project team.
Maintain a consistently high level of service to a large volume of visiting public, while ensuring the security and invigilation of the exhibition and the Australian Pavilion.
Provide information on the exhibition and Australian visual arts and when required, provide walk-throughs of the exhibition to VIPs
Act as an ambassador for Australia by positively represent Australian culture to visitors and stakeholders at all times.
Edit and upload engaging content for the Australia Council’s social media platforms.
Abide by the Council’s social media protocols and communication and marketing strategy.

General

Work five days a week in the Australian Pavilion for a maximum of six (6) hours a day reporting directly to the Attendant Manager (AM).
Maintain clear and ongoing communications with the AM.
Establish daily priorities with the Attendant Manager including:
- day-to-day exhibition and venue cleaning and maintenance
- timely opening and closing of the Australian pavilion
- leading tours, and
- front of house presentation
Support the Attendant Manager to organise and host a monthly networking event with your team and attendants from other national pavilions.
Undertake other duties as required by the Attendant Manager, Pavilion Supervisor, and the Australia Council project team.

Coordinate the exhibition in the Australian Pavilion

Maintain clear and ongoing communications with the AM in Venice regarding exhibition security and monitoring of the exhibition artworks, venue, and technology on a daily basis.
Facilitate and action requests from the Artistic team and Australia Council project team.

Audience Engagement

Provide a high-level and welcoming service to visitors including providing information on the artworks and Australian visual arts.
Act as an ambassador for Australia by positively representing Australian culture to visitors and stakeholders at all times.
Strive to position the Australian Pavilion as a destination and a ‘must see’ exhibition at the Venice Biennale.
As directed by the AM, create, edit and upload engaging content for the Australia Council’s online communication channels. Abide by the Council’s social media protocols and communication and marketing strategy.

Reporting

Research exhibiting artist Marco Fusinato practice and familiarise yourself with the central themes of his work.
Accurately record visitor statistics for the Australian Pavilion.
Submit responses to a feedback survey to the Australia Council at the end of your rotation.

Investment & development

Advocacy & research

News and media

Investment & development

Advocacy & research

News and media

Creative Australia

Advocacy

Research

Investment

Development

Partnerships + Philanthropy

First Nations First

News

Events

About us

Kluge-Ruhe Aboriginal Art Collection Artist Residency

Lisa Waup, Recipient of 2023/2024 Artist Residency at the Kluge-Ruhe Aboriginal Art Collection. Image credit: Tom Cogill

About the opportunity

Support

Application form

Assessment

Key dates

Contact

Related Links

Venice Biennale 2024: expressions of interest for artistic proposals

Australia Pavilion.

Watch the recording of the information session

About the opportunity

Who we are looking for

Support

Artist Fellowship

Curator Fellowship

General Support

Eligibility

Who can’t apply

Assessment criteria

First Criterion | Quality

Second Criterion | Viability

Third Criterion | Timeliness

Application form

Support material

Australia Pavilion floor plan and images

Key dates

Contact

CINARS 2022 Biennale

Blood on the Dance Floor by Jacob Boehme. Credit: Dorine Blaise.

About the program

Eligibility

Assessment criteria

Assessment process

Support material

Key Dates

Related Links

Acme London Residency

Acme Fire Station, 30 Gillender Street, 1999 © Acme Archive

About this opportunity

Meet the latest recipient

Eligibility

Assessment criteria

Assessment process

Support material

Accommodation and workspace

Access and inclusion

Families and guests

Previous residents

Key dates

Contact

Frequently asked questions

Are the residency dates flexible?

If successful, am I able to extend my stay abroad?

Do I have to provide a budget?

Do I have to provide a timetable of activities in my application?

Do I need travel insurance?

If I am successful, am I able to take my partner, child or both?

Is the grant I receive as part of my residency considered taxable income?

Will the same residencies be offered every year?

Can I still apply to Arts Projects Grants for Individuals for a self-organised residency?

If I apply for this residency, can I submit other applications?

I have already received a Creative Australia residency, am I eligible to apply for another residency?

Investment
& development

Advocacy
& research

Investment
& development

Advocacy
& research