External Call for Submissions

Upcoming Submission Deadlines


Deaf and Disability Arts

Materials and Supplies Assistance Grant

The Ontario Arts Council (OAC) invites Deaf artists and artists with disabilities working in visual art or craft practices to apply for a grant of $500 for the cost of buying materials and supplies to make your art work.

We are accepting applications until February 27, 2016. You’ll find more information and the application form on our website:


If you have any questions, we’re happy to help:

  • Maya Bedward, Bilingual Program Administrator, 416-961-1660 extension 5135, toll free 1-800-387-0058 extension 5135, mbedward@arts.on.ca
  • Lisa Wöhrle, Associate Visual Arts and Craft Officer, 416-969-7419 or toll free 1-800-387-0058, extension 7419, lwohrle@arts.on.ca

Past Submission Deadlines


The images in our heads

“Nothing happens in the “real” world unless it first happens in the images of our heads.”  – Gloria Anzaldúa

The Images in Our Heads brings together artists with disabilities and Deaf artists who use memory, dreams, desire and elements of fantasy in ways that challenge cultural imaginings of “difference” and provoke inquiry into alternate realities and experiences.

The word fantasy is defined as “the faculty or activity of imagining things, especially things that are impossible or improbable.” Fantasy and reality seem entangled when we tell, and are told to believe, stories about our bodies, our minds, our histories, our ancestors, our gods, our identities, our purposes or roles in society. The making of fantasy enables us to explore the alternative, making identity fluid and devoid of fixed labels. It allows us to explore and re-imagine the images in our consciousness and translate them into reality helping to change the ways in which we define and embody “difference”. Fantasy is a space where we can invoke both our refusal and our longing for the “real”.

Adding to the empowering history of artists all over the world, voicing and illustrating diverse representations of difference, the “activity of imagining” the impossible through fantasy further advocates for the inclusion of diverse experience by envisioning that which has yet to happen. Curated by Vanessa Dion Fletcher and Lindsay Fisher,The Images in Our Heads invite artists to submit work that engages fantasy to explore representations and visions of the “real” as it relates to how we understand and experience difference.

We are seeking proposals from visual and media artists who are Deaf or have disabilities; funding for this project is being sought through a Deaf and Disability Project grant through the Ontario Arts Council. We will consider applications from artists who do not identify with or claim the term Deaf or Disabled but whose work relates to the exhibition themes.

The exhibition will open on September 3, 2016 at The Robert McLaughlin Gallery, Oshawa, Ontario

Deadline: February 1, 2016


To apply, please submit the following items 1 through 5 by email as a zipped folder totheimagesinourheads@gmail.com (images as jpegs and documents as PDFs):

  1. 5-10 images (both single image views or installation views, if applicable) representing a recent body of work or a specific project. We will accept all disciplines including 2 dimensional, 3 dimensional, time-based, audio-visual, etc. Image files should be no more than 1024 pixels wide.or1-3 videos – as web link or .mov or .mpg files
  2. An image list indicating artist name, title, dimensions in inches, medium, and year, as a PDF or text document.
  3. A 150-250 word statement describing your specific work or art practice in general as a PDF or text document.
  4. For work in progress or new work: A physical description of, including the number of works, the space required, equipment needed or provided and any installation requirements as a PDF
  5. A 150-200 biography introducing yourself and your practice and full contact information.
  6. Description of any access need (ALS Interpretation, additional installation assistance etc)

Please note:

  • All Artists will be notified by March 2016
  • Artists are paid in accordance with the CARFAC Fee Schedule.

For more information about the exhibition or submission process email Vanessa and Lindsay attheimagesinourheads@gmail.com


The Robert McLaughlin Gallery
72 Queen Street, Oshawa, ON L1H 3Z3
905-576-3000, communications@rmg.on.ca

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Thursday: 10am – 9pm
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Note: open 7-10pm on the first Friday of every month for RMG Fridays.

Image top: Vanessa Dion Fletcher, Testing, video still, 2015
Image middle: Lindsay Fisher, Snake of Knees, video collage, 2015

Mice Magazine

Proposal Deadline: November 30th 2015

MICE Magazine 
Call for Proposals
With any luck, MICE Magazine will not be what anyone expects it to be. We of MICE are not united. Some say it will be Moving Image Culture Etc. Some seek Misandry, Infamy, Calamity, and Ecstasy. Yet others anticipate Monsters, Infidels, Cretins, and Elegiasts. Surely there are unthought multitudes.
What we do know: MICE will pay for the fruits of your labour. MICE is at least as thoughtful as it is rowdy, and is equipped with some pointed questions (see below). MICE wants to go for a late night walk or a bowl of noodles or a double-feature and MICE will want to talk about it afterwards, or just sit quietly with you and stare at the clouds. Make us a proposal?

Issue no2: Healing Justice
Publication date: Summer or fall 2016
Edited by Radiodress in consultation with Syrus Marcus Ware

How do media-based artists bring healing modalities and disability politics into their practices?  Social movements such as Black Lives Matter, Idle No More, and Slut Walks are currently articulating new spaces for the consideration of disability, gender, sexuality and decolonization, while media artists, festivals and exhibition spaces are taking up these questions through a wide range of embodied strategies. For its second issue, MICE Magazine will act as a curated space for media projects and writing which explore the impact of systemic violence on human bodies, both individually and collectively. 

Feminist and decolonizing social movements centre the constantly changing body in their call for systemic change. Emerging from these practices, healing justice positions our bodies as perfectly imperfect, marked by our struggles and our desires, particularly for those of us directly impacted by racism, colonialisms, and marginalization of all stripes.  Projects which engage healing justice invest in strategies such as community agreements, harm-reduction, allyship, intention setting, and active listening in public exhibition spaces. Rather than limiting their focus to questions of access in arts and disability contexts, healing justice projects push the boundaries of what can be done in galleries and museums; how an audience is hailed to participate; what an “expert” is and does; the impossibility of “curing”; and what technologized bodies can teach us about our collective future. Unlike the majority of relational aesthetics and social practice works, which explore various relations as a means towards understanding justice, the inclusion of healing justice modalities in cultural production invites an exploration of the medicinal properties of process, improvisation, and co-creation as they affect and effect the human body and our lived environment.

The healing justice issue will address violences such as incarceration and mass-detention, the school-to-prison pipeline, and police brutality; as well as targeted violence against Indigenous communities, trans women of colour, poor and working-class people, consumer/survivors, and migrants. Issue no2 will going deep into questions of how healing justice might form itself within an art system that often rejects community-based proposals for empowered and autonomous change.

Some prospective research questions, which should in no way limit your own sense of possibility:

Is there a Healing Justice aesthetic? If so – what does it look/sound/feel like?
How are social movements which mobilize Healing Justice employing media art practices?
What, if anything do feminist art practices have to contribute to this conversation?
How do disability arts frameworks expand the edges of media art? 
What is the role of technology in these experimental practices? 
How are participatory ritual and ceremonial processes re-shaping relational aesthetics?
How do these practices trouble contemporary institutional frameworks for production? 
How do they re-define authorship and reception?
What is the conversation these works generate around spectatorship and affect?   
How do questions of cultural appropriation contribute to participation in these artworks?
What resources and support do artists need to produce these projects?

Wanna? We thought so.

To pitch, send a nice email to editorial@micemagazine.ca with up to 250 word proposals for:

feature essays (up to 3,000 words) that lay out your substantive critical, theoretical or historical arguments on the topics proposed
essays (up to 2,000 words) that get into the nitty-gritty with respect to one or more media artists and their work

And/or media files (up to 5 minutes of sound/video and up to 5 screen-resolution images) for artworks.

We welcome propositions in two parts, should you wish to engage the themes of both issues.

The deadline for pitches to both issues is Monday 30 November 2015, at the stroke of midnight.

MICE is Parastoo Anoushahpour, Gina Badger, Scott Miller Berry, Jesse Cumming, Ben Donoghue, Amy Fung, Onyeka Igwe, and Yaniya Lee