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Call for Projects

In 2022, we entered a three-year thematic cycle called “Immersio”. Our aim is to follow the flow of nature and its impact on the evolution of organic matter, the biological phenomenons, from photosynthesis to decomposition and all the steps in between.

First chapter (2022): Synthesis / Second chapter (2023): Anthesis / Third chapter (2024): Mycelium

”...It is a blanket woven
in the bed of the earth.

It is patient as the desert,
willing to wait
a month or a season
for the engorgement of rain,
the carnal urgency of fruit,
the ethereal casting of spores.

”Some believe they know
about the longings of trees,
their reachings for the sky,
their intimacy with the air,
but a tree meets its true lover
in a secret tryst under the earth,
in the clasping of root tips
the sheathing, the enfolding,
the flowing back and forth,
the quenchings and bodily gifts
of the mycorrhizal embrace.

Kathie Fiveash

Submission guidelines

This year, we will tackle the final stage of our cycle, named Mycelium. You can also find a free open call here, for projects that are not linked to our theme.

Definition:

Imagine a multitude of webs of extremely fine threads, weaving their way through the soil and organic matter such as wood or plant leaves. Or filaments wrapped around plant roots, or threaded around and through plant cells. Some webs form in moist habitats, in or around dead or living matter. Some webs interact with humans and animals, harmlessly or beneficially, or sometimes causing disease. These webs “mycelium” are the bodies of fungi.

Mycorrhizal fungi are key factors in the health of trees, forests and ourselves.

Out in the wild, mycelium is a whole network of thin fungal strands called hyphae. The mycelium has almost the same function in fungi as the roots of plants. Mycelial networks can be large or small. Most are invisible to the naked eye, but some species of fungi can reach gigantic sizes.

Many fungi reproduce and form spores. These minuscule, seed-like structures are transported by wind or animals. When they land on the ground, they germinate and can grow, forming a new mycelium.

Criteria:

We will take into account several criteria upon the selection of projects:

  • the relevance to the theme,
  • the immersive aspect of the proposal,
  • a sustainable approach, respect for the environment, upcycling and the use of myco & biomaterials. However, this is not an exclusive criterion.

 

We are therefore looking for projects that are particularly relevant to the following disciplines:

A. Artistic Performance
  • of which purpose is not only musical (dance, happenings, improvisation, body art, theatre… this list is not exhaustive);
  • the intervention can happen on- or off-stage, spatially fixed or mobile;
  • cannot be hosted inside a building;
  • has to be adapted to the Belgian weather.
B. Artistic Installation
  • contemplative and/or conceptual and/or interactive,

We’re not looking for scenographic projects as our team is already working on this. But if you want to get involved, please contact:

Offer

  • Several budget packages ranging from 250 EUR to 3.000 EUR will be granted and should include all costs (travel, material, production, wages),
  • 25% will be transferred two months prior to the event (based on an invoice),
  • 75% will be transferred one week prior to the event (based on an invoice),
  • Accommodation on the festival site (tent, dormitory) if needed.

Required to apply

  • Project description (max. 300 words):
    • Overview of the concept, content and form of the project.

 

  • Exhibition/Performance duration, please choose and motivate between:
    • Only available/possible for the festival time:
      • performance: 1, 2, 3 or 4 days (minimum 2 performances per day),
      • installations: 4 days,
    • Available/possible for the summertime (from the end of June until early September). Only applicable for installations.
    • Available/possible for a permanent setup. Only applicable for installations.

 

  • Project realisation (max. 200 words):
    • Production timeline and method
    • Workforce needs (if needed). It is important for us to know exactly the part played by each person contributing to the realisation of the work on the festival site. Please make a precise list of each person involved.
    • Any key contributors and provisional exhibition/performance requirements,
    • Please send your technical requirements. For a better operation, it is preferable for you to be as independent as possible.

 

  • CV and/or portfolio (max. 2 pages):
    • Full contact details with first name(s), last name(s), phone number, localisation, etc.

 

  • Budget (max. 1 page):
    • A brief outline of expenditure for the production budget.
    • If your project requires additional funds, please outline funding sources and indicate whether they are confirmed or expected.

 

  • Visual material:
    • Online link to a video (if available),
    • Pictures and/or sketches (max. 8)

Communication & Timeline

  • SUBMISSIONS ARE CLOSED!

Deadline: 1st of March
Notification date: 1st of April

Build-up: 10 to 19 June 2024
Festival: 20 to 23 June 2024
Break down (if applicable): 24 & 25 June 2024

Specific in-situ availibilities (optional)

Here, you’ll find a list of places on the festival site where we’d like to see an artistic proposal. It’s entirely up to you and there’s no obligation to pick these spots:

Long-term opportunities for installations (optional)

Closely collaborating with our host, La Station de la Haute Ardenne (the ski domain) and the municipality, we now have the opportunity to develop long-term projects on site. Therefore, we would like to grab/seize this opportunity to bring an impactful artistic imprint to our rural and remote countryside.

That means that we have the possibility to allow some artworks to cohabit on the festival site for a longer period of time (from 3 months to several years).

We will then create an art trail around and within the perimeter of the festival that will display your artworks/installations and allow walkers to discover them in the heart of nature.

The only constraint for this kind of commitment is that we will only consider the artworks that do not require any electricity or a regular maintenance. You should also make sure that the artworks can live well with the rather harsh Belgian weather conditions.