Due to current restrictions on international travel, the following international opportunities will not be available:
Artists and organisations seeking funding for international engagement are encouraged to apply to the Grants Program through the project categories closing Tuesday 1 September 2020 and subsequent rounds in 2021.
Further information and dates for strategic international funding opportunities will be announced in late 2020 alongside a new suite of Sector Recovery initiatives.
We acknowledge that forward planning is essential and difficult under current circumstances. All guidelines and criteria for the above opportunities are currently being reviewed to take into account the widespread impact of COVID-19.
The Australia Council provides a wide range of support for Australian artists and arts organisations to work internationally through our grant programs, strategic initiatives and multi-year organisational funding including the Major Performing Arts Framework.
Our international activity supports artistic, market and audience development and grows the international profile of Australian arts and artists.
Learn more about our International Arts Strategy.
Audiences Won't Forget Us - Kamini Ramachandran
As a storyteller, Kamini Ramachandran's tools of trade are her voice, her body and her vast knowledge of oral traditions from Southeast Asia.
In this strange new world we live in today, she finds that she and her other artists friends have to adapt their practices, but yet, solidarity and support for one another never waver.
Kamini talks about how she keeps her audiences engaged and making sure that they don't forget the arts.
Image credit: In Search of the Gelam Tree. Credit: Arts House Limited.
Things will have to wait: Judith Hamann & James Batchelor
What does it mean to be under a stay at home order when you’re far from home? In this podcast we speak to two international artists, dancer and choreographer, James Batchelor, and composer and musician, Judith Hamann.
Both artists in residence, James speaks from lockdown at the Cité internationale des arts in Paris and Judith calls in from Helsinki International Artist Programme (HIAP), located on a small island 20 minutes from the city.
Embarking on their respective residencies at the beginning of March, each artist experienced a swift and dramatic change of circumstance. Here they discuss the gap between their original ambitions – for live performance, for choirs and collaboration, for networking and sightseeing – and their new, circumscribed reality. Connection is still possible, “thank God for Wi-Fi”, but we might observe that isolation breeds introspection. Is there something almost utopian about a residency truly cut off in space and time? What conditions for creation can be maintained in isolation, and what will have to wait?
Image credit: Judith Hamann
It’s a little early: Elena Knox
For Tokyo-based Elena Knox, an artist who in recent years has sustained her creative practice exhibiting internationally, what is the way forward from here?
Across her music, performance, video and installation work, Elena has worked with other artists, science labs and premier cultural institutions, including Mori Art Museum, Tokyo and the upcoming Yokohama Triennale, AFTERGLOW, curated by Raqs Media Collective, set to open in July.
It might be a little early to tell, but art with technology - Elena’s longstanding area of inquiry - will play an important role moving forward. Meanwhile, the current pause in presentation commitments offers space to reflect on the realities of living and working as an ‘outsider’ in Japan, and a timely appreciation of the small gatherings that the Tokyo music and art scenes have always approached with integrity.
Featured in this episode is Elena Knox’s music, as part of electric pop duo Actual Russian Brides, This Haus. Courtesy Brigade Music Berlin
Image credit: Elena Knox, Comfortable and Alive, 2014, video still. Courtesy the artist.
Showing up for each other: Samara Hersch
Listen as Samara Hersch asks and answers questions about the difference between digital and live experiences, the way time moves on the web and how we can keep showing up for each other during this time.
Theatre-maker Samara Hersch was pitching her work We all know what’s happening made with collaborator and friend Lara Thoms at the Australian Performing Arts Market (APAM) in February this year. Samara had flown in from Amsterdam, where she now lives, for her first ever APAM pitch. En route back, she was to make a pitstop at Singapore to work with The Theatre Practice and facilitate conversations with young people there as part of her ongoing work Body of knowledge, supported by Australia Council and the National Arts Council, Singapore. Alas, COVID-19 hit, borders closed, flights halted and Samara is currently stuck in Melbourne. She shares how she facilitated the conversation with young people anyway, from her bedroom!
Image credit: Samara Hersch, We all know what's happening. Credit: Byrony Jackson
Looking horizontally: Rainbow Chan
Hear tips from artist Rainbow Chan, about the importance of listening to the room, slowing down, and looking horizontally – as strategies for both working interculturally, and getting through this global crisis.
This Hong Kong spring, interdisciplinary artist Rainbow Chan was supposed to be on residency at West Kowloon Cultural District, an exchange with Performance Space, and at Art Central Hong Kong, presented by 4A Centre for Contemporary Asian Art. She would have been developing work in collaboration with her Weitou elders, sharing their folksongs and female narratives, as one of Hong Kong’s first peoples. With national borders now closed, and generations physically isolating from each other, Rainbow is at home in Sydney, making music for her audiences online, and writing about counterfeit cultures (real fakes and fake reals).
Image credit: Rainbow Chan, Pillar (2019) digital and vinyl LP. Written, recorded and produced by Rainbow Chan. Photo by Hyun Lee. Cover design by Craig Stubbs-Race. Image courtesy of the artist.
The Future is Now: Jeff Khan & Ron Berry
Join two of the world’s leading performing arts curators for reflections on the creation of Fusebox Festival 2020: Virtual Edition (April 24-26).
Ron Berry from Fusebox Festival (Austin, Texas) invited Jeff Khan from Performance Space (Sydney) to collaborate on a program of work for his renowned annual arts festival. Three years of dialogue and exchange would culminate in a showcase of experimental works by Australian and Asia-Pacific artists in the upcoming festival in April 2020. However, due to the impacts of COVID-19, it became clear just one month out that an in-person, live version would not be possible. Would they cancel, postpone, or perhaps re-imagine and re-design a wholly new online version?
Image credit: Guadalupe Maravilla, Fusebox Festival 2017. Credit: Christopher Shea