The collective replaced the front page of Prophon’s website, saying that “this domain has been seized by Anonymous under section #14 of the rules of the Internet”. Other pages on the prophon.org website had been left unchanged.

“This is Anonymous. It has come to our attention that YOU and another twelve greedy organisations have signed a open letter, supporting the so-called ‘Anti-Counterfeiting Trade Agreement’,” the defaced front page read.

“Not only your letter is full of false statements, but you are also essentially calling people’s concerns about their FREEDOM ‘groundless suggestions and manipulations’. This is unacceptable, this is where you made us rage. You are the first, but not the last. This should be a lession for the other ACTA supporters.”

More on this, here.

„Memorie si politici de memorie: instructiuni de folosire”, ca discurs al oricarui narator obisnuit cu regresiile in trecut, isi propune sa repovesteasca tuturor celor cu „tinere de minte” cum anume a gasit de cuviinta Romania post-decembrista sa-si reaminteasca istoria recenta prin cele doua canale anuntate: politic si artistic! Cu alte cuvinte, sa raspunda la cel putin doua intrebari fundamentale: ce si cum anume ne-am amintit politic despre perioada comunista? Ce si cum anume ne-am amintit artistic despre perioada comunista? Vor fi asadar explorate evocarile politice si artistice ale trecutului, ca mijloace de intemeiere post-decembrista a unor tipologii de memorie.

Marius Stan este doctor al Facultatii de Stiinte Politice a Universitatii din Bucuresti (cu o teza despre administrarea trecutului in Republica Sarba si functionarea Tribunalului Penal International pentru Fosta Iugoslavie) si cercetator in cadrul Institutului de Investigare a Crimelor Comunismului si Memoria Exilului Romanesc, calitate in care a participat la elaborarea mai multor articole si lucrari despre istoria comunismului in Romania. A publicat studii despre sistemul penitenciar, reeducarea prin tortura si represiunea comunista in Romania si coordoneaza revista internationala History of Communism in Europe. Este co-autor al volumelor I si II ale Dictionarului ofiterilor si angajatilor civili ai Directiei Generale a Penitenciarelor. Aparatul Central: 1948 – 1989, Iasi: Polirom, 2009/ 2011.
Din 2006 este membru si purtator de cuvant al miscarii civice Militia Spirituala.
Printre domeniile sale de interes se afla proiectele educationale si de memorie: istoriacomunismului.ro;  memoryofnation.eu, transformarile sociale si politice in Europa postcomunista si justitia de tranzitie.

English

Marius Stan, lecture
Memory and Politics of Memory: A Hang Tag
Thursday, 09 February 2012, 19.00

Memory labels a wide variety of phenomena. You remember how to play GO after many years of idleness. You remember to call your parents when every of their anniversaries. You evoke the maidans where you used to play ball in your boyhood days. You retrace a flavour, a colour, a feeling… you bethink the 1989 events through the medium of certain time and praxis. Nonetheless lots of things happen – as Wittgenstein would assert – when we recollect.
When the reminiscence is acquired through some political means, it takes the shape of the so-called politics of memory. Or when the reminiscence coalesces into art becoming its object, we can ultimately state something about an art of memorialisation. All these employments are using interpretations and reinterpretations of some past symbols, whilst the memory on the whole is nothing else than a complex process wherein selection plays a decisive role. Being a trial experience par excellence, the memory could retrospect to the cast of the one who makes the selection. Notwithstanding, who is to say which elements are retainable as public memento and whichever should be blotted out or forgotten? That memory of a certain kind and shape could unintentionally arise within this “lab”, is another plausible fact. But things can be intended and unintended at a time, whilst certain “vernacular memories” of some major events could remain quite different from the official historical commemoration.
As oration of any common narrator used to facing the past, “Memory and Politics of Memory: a Hang Tag” tries to retell to the unforgetting ones how exactly the post-communist Romania has condescended to recollect its recent history in the aforementioned ways: politically and artistically! In other words, to provide answers to at least two fundamental questions: what and how exactly did we manage to politically recall in relation to the communist period? What and how exactly did we manage to artistically recall in relation to the communist period? Thus the political and artistic awakenings of the past as means to a post-communist establishment of some memorial typologies shall be explored.

Marius Stan holds a PhD in political sciences from the Faculty of Political Sciences – Bucharest University (with a thesis on the administration of the past in Serbia and the functioning of the ICTY), and currently works as a researcher within the Institute for the Investigation of Communist Crimes and the Memory of the Romanian Exile wherefrom he has published several articles and other writings on the history of communism in Romania. He has published many studies about the penitentiary system, re-education by means of torture, and the communist repression in Romania; he also coordinates the international journal History of Communism in Europe. He co-authored two volumes of the The Dictionary of the Officers and Civil Employees belonging to the General Directorate of the Penitentiaries. Central Apparatus: 1948-1989, Ia?i: Polirom, 2009/ 2011. Starting with 2006 he is a member and spokesman of the civic movement “Militia Spirituala”. Among his fields of interest should be mentioned few educational and memorial projects: istoriacomunismului.ro;memoryofnation.eu, the socio-political transformations in post-communist Europe and transitional studies.

—
PAVILION center for contemporary art & culture
proudly supported by UniCredit Tiriac Bank

Sos. Nicolae Titulescu 1 (Piata Victoriei)
Bucharest  011131 Romania
T: + 4 031 103 4131
E: pavilion@pavilionmagazine.org
www.pavilioncentre.ro

Facebook: www.facebook.com/pavilionjournal

—
PAVILION (proudly supported by UniCredit Tiriac Bank) este un centru pentru arta si cultura contemporana, un spatiu independent work-in-progress, spatiu de productie si cercetare a vizualului, a discursivului si a performativului. Este un spatiu al gandirii critice  care promoveaza o întelegere implicata socio-politic a artei si a institutiilor culturale.

PAVILION UNICREDIT (proudly supported by UniCredit Tiriac Bank) is a center for contemporary art & culture, a work-in-progress independent space, a space for the production and research in the fields of audiovisual, discursive and performative. It is a space of critical thinking, and it promotes an artistic perspective implying the social and political involvement of art and of cultural institutions.

This is a project by PAVILION – journal for politics and culture.
www.pavilionjournal.org

—
PAVILION, BUCHAREST BIENNALE and PAVILION CENTER are projects devised and founded by Razvan Ion and Eugen Radescu

This series of exhibitions by the ifa Galleries Berlin and Stuttgart of the Institute for Foreign Cultural Relations is entitled “Solo for …”. These are solo exhibitions for artists who first exhibited in the ifa Galleries years ago, at the beginning of their international careers. Today, Gülsün Karamustafa and Ay?e Erkmen from Turkey, Dan and Lia Perjovschi from Rumania, Moshekwa Langa from South Africa or Liina Siib from Estonia – to name but a few – are active internationally: They live, work and teach – in most cases on a temporary basis – in New York and Amsterdam, in Vienna and Frankfurt a. M.. Their work can be seen at the documenta, at the Biennale in Venice, in São Paulo, Istanbul and Gwangju. Institutions like the Hamburger Bahnhof in Berlin or the Tate Modern in London invite them to stage large projects, extensive individual exhibitions and retrospectives. More on this, here.

Be creative and show us what Europe means to you! Since the year 2012 is a European year for “Active Ageing and Solidarity between Generations”, incorporating members of older generations into the video production teams is encouraged.

To participate in the EESC video competition you must be:

• A citizen of the European Union
• Aged 18-30
• An amateur production team (NB) (e.g. students) which can include one or several members of older generations.

EU staff, Members and employees of the EESC and their immediate family are not eligible to enter the contest.

* The non respect of these conditions can lead at any moment to exclusion from the competition and potentially to the withdrawal of any prizes awarded.

More on this, here.

Nothing makes us feel connected quite like sharing a meal together. On February 24th at 12pm Eastern Standard Time, thousands of strangers from around the world will sit down for a bite in unison and capture a shared experience at the exact same time. Take a photograph of yourself with your meal and mail it back to us. These simultaneous snapshots – self-portraits of people and their foods – will be exhibited in our storefront project space and made available online. Our aim is to inspire a feeling of community across geographic and cultural boundaries. So wherever you may be on February 24th at 12pm, keep your camera handy and something delicious nearby – and remember that thousands of strangers, both near and far, are sharing that meal with you.

Rules and more info, here.

The exhibition project “undergo the parallels” has to be held in about 10 underground passages of Tbilisi, images can be seen under:  https://picasaweb.google.com/Infogeoair/UndergoTheParallels?authuser=0&authkey=Gv1sRgCL–5rnw8uGFdQ&feat=directlink.

An exhibition project “undergo. the parallels” will take place in Tbilisi pedestrian underground passages. After the collapse of the Soviet Union, these underground passages have experienced different stages of existence: first they were completely abandoned and became dangerous places of muggings and robbery. The outcome of this was that people entered them more and more seldom, choosing to cross streets loaded with traffic arbitrarily, which led to a significant death toll. Later, these undergrounds became places where alternative, unofficial selling points arose. The more efficient sellers developed kiosks, shops, gambling places etc. Some of these underground passageways developed their own life, parallel to ”normal” city life in the open air. These passages somehow turned into spaces of meeting and communicating, the youth are gathering in gambling houses, some musicians and students meet to play and listen to the music, the shop keepers are in close contact with the passengers and potential customers.

Today these undergrounds are still under development, in some of them new “organized” commercial infrastructures are built, some of them are under the danger of collision, also there appeared some passages which regardless of their necessity, has lost their practical function, and became place for garbage, or turned into public toilets.

There are two direct goals to be achieved with the project „undergo. the parallels“: practical and artistic.

In term of practical goals we hope to animate the population of Tbilisi to more frequent usage of underground passageways. For these artists will work directly on site in the passageways, some of the works will be displayed during the whole project period, but also temporal actions and performances will be held in different passageways… Project guide, which will inform about all the activities, will be spread out to general population. On the one hand activities carried out during the project will animate pedestrians to enter the passageways and on the other hand they will give an input to officials for improvement of the given situation.

On the artistic level, site-specific works (light installations, sound installations, photography, street art etc.) produced especially for the passageways will address socio-political and concrete practical issues mentioned above. Tbilisi and Georgian audience is not used to art in public space and in participatory art. With the project “undergo. the parallels” we aim to confront the general public with unconventional ways of perceptions of art and engagement with it. Some artworks as street art, light installations, produced during the project, could also remain on-site and act as a long-term attraction in both practical and aesthetical ways for the passageways.

*REQUIREMENTS*:

The organizers do not hold responsible for the damage or permanent loss of the Art work, Due to the fact, that project is planned in a public space in Tbilisi. Next to the artistic value the priority will be given to projects which will not be expensive and technically difficult to realize.Selection procedure will take into consideration the overall cost of the piece of art to be exhibited. The artwork presented for the exhibition should be relevant to the city of Tbilisi and relate thematically to the underground passages.

It is *important to know*, that the project is of a low budget, thus GeoAIR can not carry costs of artists’ travel, accommodation and living costs to work on site, BUT we are more then ready to assist you in applying in your countries for local funding. Because of the same financial issues, works can not be returned back after the project is ended.

*FOR MORE INFORMATION & TO APPLY contact:* infogeoair@gmail.com
The interested applicants should mail us the following information in PDF format to: infogeoair@gmail.com> in a Subject line: Open Call “undergo. the parallels”:

1. The concept of the work an technical description
2. Approximate budget of the work
3. Artist’s CV
4. Portfolio of realized projects/works.
*Deadline for submissions is March 2, 2012.*

www.geoair.blogspot.com
www.archidrome.blogspot.com <http://archidrome.blogspot.com/
www.geoairresidency.blogspot.com

Chiosc / Kiosk exhibition with participating artists: Tonka Malekovic [HR] & Ion Fisticanu [MD], Pawel Mendrek [PL] and Ewa Zasada [PL], Krystyna Nikiel [PL], Lukasz Obalek [PL], Jarek Sedlak [CZ], Bartek Skrzyczek [PL], Leslaw Tetla [PL], Vladimir Us [MD], Kasia Wolny [PL], Joanna Zdzienicka [PL]. Curators: Leslaw Tetla [PL], Vladimir Us [MD]

http://chiosc.oberliht.com/2011/12/15/kiosk/

Rondo Sztuki Galeria +
opening: December 15, 2011, 18:00
address: Rondo im. Gen. Jerzego Zietka 1, Katowice, Poland
http://rondosztuki.pl
program: 15/12/2011 – 05/01/2012
Tue-Fri: 11:00 – 19:00
Sat-Sun: 10:00 – 18:00
contact: + 48 32 720 11 32

free entrance

CHIOSC / KIOSK exhibition is the result of collaboration between Interdisciplinary Actions Studio at the Academy of Fine Arts in Katowice with the curator and president of Young Artists Association Oberliht from Chisinau, Vladimir Us. The eponymous “FLAT SPACE” is an architectural structure inspired by the standard flat in Moldavian SSR. Given the impossibility of open, public exhibition of the artistic underground, in the 1970s and 80s it became popular to host art exhibitions in private homes. Today, this module is removed from the context of block of flats and housing estate by the artist Stefan Rusu and placed on one of the squares in the Moldovan capital Chisinau, thus symbolically taking the discussion from the flat into public space. As an open gallery, it is a place for animating and presenting artistic projects, cultural information point and a platform for meetings and talks. The exhibition will present several projects created for and around FLAT SPACE.

http://www.rondosztuki.pl/wydarzenie.php?id=429
http://asp.katowice.pl/news/post/497/chiosc-kiosk

INTERVENTIONS
http://www.oberliht.org.md/interventii2.html
http://www.oberliht.org.md/interventii3.html

At a time when FLAT SPACE existed only as a file in the drawers of the city administration, the activities anticipating the KIOSK project were already taking place. INTERVENTIONS2 (2007) – consisting of a series of exploratory walks through the city as a means of documenting, with the help of photography, places of power and control, processes of gentrification, the invisible and left over spaces or non-places – was followed, in 2008, by INTERVENTIONS3, a new edition which involved more than thirty participants from several European countries who were invited to reflect on the processes that have been shaping Chisinau’s public space. This particular activity, organized as an artist-in-residency program and consisting of walking tours, public presentations, screenings and other events, resulted in a series of ephemeral interventions throughout Chisinau and its suburbs, transforming the city into a plateau for research, a space for production and exhibition, where the artists could meet and interact with the public.
The general concern with the public space issue enhancing both projects’ objectives and the need to influence the existing public policies and local authorities to extend the access to public space and allow its less restricted usage have prepared the ground for a more permanent structure to be installed in the city (excerpt from KIOSK catalogue, Chisinau 2011).

KIOSK PROJECT
cultural information point / public platform for participation
http://chiosc.oberliht.com/chiosc

When several years ago artists and theorists began to deal with the influence of the quickly spreading capitalism that was paving the way for holders of private property, and analyze its consequences within the urban (post-socialist) space, in some cases the kiosk was seen as the man in the street’s answer to the radical economic changes taking place in Eastern Europe. Small-scale private enterprise markets taking various forms (kiosks, vendor tables, stools, fridges, cars etc.) invaded the streets and public spaces, becoming the arena for a new citizen-driven economic model within the regulated capitalist environment.

In 2009 another type of kiosk was launched in Chisinau, aiming to provide an alternative within a cultural sector dominated by institutions inherited from the Communist period: the KIOSK project, embodied in FLAT SPACE, a cultural information point and a platform for public participation initiated by the Oberliht association. Installed on a tiny segment of municipal ground, squeezed in between cars aggressively taking over the sidewalks, FLAT SPACE plays the role of an active agent of bottom-up civic involvement, understanding cultural engagement as social action capable of producing a critical culture. The activities built around it address, in its immediate surroundings, the urgent question of public space. In a broader way the project offers the basis for the analysis of the cultural, social and political realities of one of Europe’s suburbs (excerpt from KIOSK catalogue, Chisinau 2011).

WORKS

Tonka Malekovic [HR] and Ion Fisticanu [MD]
POSSIBILITY OF THE CITY / FOUNTAIN CITY
Between 4 and 12 of July 2009, Croatian artist Tonka Malekovic took part as artist in residency in the frame of KIOSK project, in Chisinau, initiated by Oberliht, young artists association. For this occasion she developed a project POSSIBILITY OF THE CITY in collaboration with Moldovan artist Ion Fisticanu.
http://chiosc.oberliht.com/air/

Influenced by the artwork of Ion Fisticanu (“Cities on the roof of my house / INTERVENTIONS3, 2008”), Tonka Malekovic connected his idea with her own preoccupations about how to develop relationship with the public space through the play, imagination and improvisation, in direct participation. Therefore, she proposed Ion collaboration, expanding the frame of the original work by positioning it within the wider concept and inviting more people to join in. The idea was simple: to walk, to observe, to play, to construct improvised constellations representing cities using the materials found on the spot, on various locations all over the city of Chisinau.
Rethinking the public space and one’s relation towards it, very often makes the basis of the work of Tonka Malekovic. Possibility of the City project continues along this line. On metaphorical level it speaks about the city as a possibility, and its citizens as creators of the new urban realities. (excerpt from Oberliht Supplement | SoE, July 2009).

Pawel Mendrek [PL] and Ewa Zasada [PL]
FOUNTAIN. RECONSTRUCTION FROM THE PROJECT FROM NOW TILL TODAY

“Reconstruction of a construction. Critical reconstruction. (Re)construction for now.”

The project by Ewa and Pawel reconstructs a fragment of a dilapidated fountain in Chisinau (the location is not without significance), which will dissolve with time and again reveal a certain lack. The form made of soap reconstructs the missing part not so much provisionally as temporarily. It fills a gap in the form – not just an aesthetic object, but on the symbolic level – in the system it represents.
Persistence of systems, all of which have a touch of utopia “eroded” with time by the rapid current of life, proves momentary. In the words of Zygmunt Bauman, u-via replaces u-topia, and the temporality of the proposed reconstruction is “the collapse of long-term thinking”, by Malgorzata Szandala

Krystyna Nikiel [PL]
MOLDOVA?
More than the object itself, what interested me was the place where it is located. I began an intense “exploration” of Moldova, recording this process in photography and pencil. These activities lead me to the home of Ms Nona who comes from Moldova. However, I had a long and surprising journey before I got there.

Lukasz Obalek [PL]
MIRROR SPACE
I am showing the FLAT SPACE model fully covered in mirrors – it is my response to being asked for a comment on the reality of Moldova. I am aware that any artistic expression of the living conditions in an unfamiliar place can be easily interpreted as empty demagogy. Snatches of information from many different sources are hardly sufficient to form an opinion of the situation in a foreign country. What information reaches us, creates an image of a country in the period of political and mental transformation, with typical accompanying problems. Currently, mostly due to the development of the Internet, the changes are becoming faster and generate new expectations. For me this is the source of the manual interface of these ambitions that FLAT SPACE is.
The mirrored object in one of the squares in Chisinau will by itself comment on the surroundings.

Jarek Sedlak [CZ]
POWER TO FLOWERS
… 500 flowers in a real fight against 20 cars at least
… searching for bits of sensitivity for public space in drivers’ mentality
… bring your own flowers and plant them at Bucuresti 68 str. in Chisinau
During his residency in Chisinau, in collaboration with Oberliht Association, Jarek Sedlak has produced a work composed of 500 flowers that were planted on the square from Bucuresti str. 68, restricting this way the transport circulation on the square and keeping it free of cars during one day. This allowed the ordinary users of the square to project their own ideas for the suddenly free place, making space for imagination and play.
http://chiosc.oberliht.com/2011/05/09/putere-florilor-power-to-flowers/

Bartek Skrzyczek [PL]
My project on the socio-political situation in Moldova takes the form of game simulation. Black background with military symbols (tanks, grenades, guns) sized 440 × 280 cm has been divided by dotted lines into 40 × 40 cm squares. There is interaction on the board: each wallpaper square corresponds to one Moldovan ornament.
As an individual I have no way of changing world politics. Actually, I have little influence even on my immediate surroundings. The possibility of change is just a wish. I would like any person to be able to decide their fate, shape and creatively criticize reality. The awareness of potential change is in itself a change.

Leslaw Tetla [PL]
…
The project “…” is connected with resident lists/intercoms located at the entrances to blocks of flats. Due to personal data protection regulations, residents choose if they want to make their names public or not. As a result of their decision to remain anonymous, many lists are composed mostly of empty spaces with flat numbers. While documenting intercoms at housing estates in many cities I came across a meaningful example. On a long list with just flat numbers there was only one name – J. Nowak. As it is the most common name in Poland, it means just as much as another number. For my project I consulted the statistics of most common last names in Poland and Moldova.

Vladimir Us [MD]
STEFAN CEL MARE BOULEVARD
Stefan cel Mare si Sfint Boulevard, which stands today for the main boulevard in Chisinau, is a research project through which I would like to reveal the names that this particular street had in the past, thus unveiling the past and present mechanisms that stay behind the process of writing the history. The name of Stefan cel Mare si Sfant was attributed to this street in 1990, when Republic of Moldova became an independent state after the fall of the Soviet Union. In the process of research I found out that this particular street has changed its name at least seven times, changes that were operated under different regimes in the past.

Kasia Wolny [PL]
LARGE PANEL
The idea behind „Large Panel” is to draw attention to details in blocks of flats built of prefabricated concrete panels, which usually go unseen by the residents accustomed to their presence and character. The interiors photographed were constructed in a way that defies craftsmanship and common sense. They create a dream-like and surreal atmosphere. Photographs arranged into imperfect collages filled with detail express the absurd nature of the spaces portrayed.

Joanna Zdzienicka [PL]
KIOSK / PLASTIC GARDEN
I am familiar with the activities of Oberliht Association and FLAT SPACE as public platform for participation from Chisinau mostly from stories. Moldova seems quite an exotic country to me. My works are directly inspired by the images that form my source of information about this place. One of them is the photograph of FLAT SPACE model, which functions as the unofficial logo of this space. Another is a newspaper photograph documenting the “Plastic Garden” action. Turning these images into paintings allows me to come in touch with the subject and familiarize the form in my own artistic language.

WIND PROTEST
http://chiosc.oberliht.com/protest/

Wind Protest is initially an artistic intervention connected to the April 2009 events that took place in Chisinau. It was realized by Diana Arosio, Helen Brandt, Felix Reisbeck and Vladimir Us and was presented in the FLAT SPACE. The work itself makes reference to the freedom of expression and access to information. The public was invited to write their statements, opinions and feelings related to 7th of April events down on a piece of cloth that were presented later publicly in the balcony of the FLAT SPACE. The intention of this work is to communicate differently, more effectively and without violence.
In 2011 inside the balcony at FLAT SPACE the works of 8 of March Public Action [MD], Campaign for supporting the GHOST Pavilion of Republic of Moldova [MD], Art Workers Coalition, 1969 [US], artistic groups focAR [RO] (Alina TUDOR and Razvan NEAGOE) and Monotremu [RO], artists Dan Perjovschi [RO], Janos Sugar [HU] were presented.

CULTURAL INFORMATION POINT AT FLAT SPACE
In connection to the [oberlist] mailing list, which covers the arts field with different regional focuses, the Cultural Information Point offers news and announcements from various European countries. Open calls for artistic projects, artist in residency programs, art news, and announcements for local cultural events are regularly displayed there.
[oberlist] is an electronic free of charge service that is offered to artists, curators, cultural workers, managers and activists, policy makers, art lovers etc. from both Eastern and Western Europe but also Black Sea and other regions in the world thus establishing premises for future cooperation in Europe. It started as a community of students from Art Institute in Chisinau and evolved to a platform representative for many contemporary art and culture initiatives:http://www.oberliht.com/oberlist

The visitors will also be able to consult various publications edited by Oberliht Association.

- POSTBOX magazine – literature, art, attitude: http://plic.oberliht.com
– Oberliht Supplement: http://www.oberliht.com/supliment
– Notes for a People’s Atlas of Public Space in Chisinau:http://atlasofchisinau.wordpress.com
– catalogues and other publications

partners:
Young Artists Association Oberliht: http://oberliht.com
Kalmar Konstmuseum: http://www.kalmarkonstmuseum.se
4AM Forum pro architekturu a média, Brno: http://www.forum4am.cz
Slobodne veze/ Loose Associations, Zagreb:http://slobodneveze.wordpress.com

Be part of the photographic alternative and participate in the 2012 Voies Off Prize.

www.voies-off.com

What we provide
· Three month residency in Kosice, Eastern Slovakia between May and December 2012

· Free accommodation near the city centre (full furnished with kitchen, no room service)
· Honorary, travelling and material costs

What we demand:
*We searching for emerging artist, who is open for collaborations with local artists
*One presentation during the residency and final project/exhibition at the end
*Compulsory attendance
*deadline: 31st of December 2011
You you are interested? Find more information in the attached document or visit our homepage:
http://www.kosice2013.sk/en/kosice-2013-n-o-offers-three-month-residency-in-kosice-slovakia

For further question contact: ludwig.henne(at)kosice2013.sk

Conditions: Applicants must be doctoral students, or hold a Ph.D. title. Preference will be given to candidates below the age of 40.

Duration of the Fellowship: one term (5 months), from October 1, 2012 to February 28, 2013, or from March 1 to July 31, 2013; or a full academic year (10 months) from October 1, 2012 to July 31, 2013.

Location: New Europe College-Institute for Advanced Study in Bucharest.

The Fellowship consists of: a monthly stipend of 650 € (tax free), accommodation, international transportation to and from the home country of the Fellows at the beginning and the end of the Fellowship. Fellows are offered a one-month research trip abroad to an institution of their choice (2,600 € for transportation, accommodation, and per diem). In addition, fellows can order literature for up to 500 €, to be used for their research during the Fellowship, and included, at its end, in the library of their home institution.

Working languages: English, French, and German. A good command of English is desirable.

The deadline for sending the completed application is January 15, 2012.

The evaluation procedure includes several stages, among which an interview with the international Academic Board of the NEC, scheduled for March 29-31, 2012. Applicants selected for the interview will be notified by the beginning of March 2012.

The application form and additional information on the Program and on New Europe College can be downloaded from:www.nec.ro or requested by e-mail from: applications@nec.ro (please include in the Subject entry of the message the following: “Black Sea Link Fellowships”).

Contact person: Irina Vainovski-Mihai

applications@nec.ro

Mailing address: New Europe College

str. Plantelor 21, 023971 Bucharest, Romania

Phone: (+4) 021 307 9910,

Fax: (+4) 021 327 0774