Useful answers to frequently asked questions about the Ways of Repair : Loss and Damage
program. Click on the questions below to see the answers.
Q. What is Ways of Repair : Loss and Damage
A. Ways of Repair : Loss and Damage
is an online artistic research residency aimed at facilitating a transdisciplinary exchange around the issue of loss and damage
caused by the climate crisis.
Q. Is Ways of Repair : Loss and Damage
just for artists and curators or can photographers, film-makers, musicians and other practitioners apply?
A. Ways of Repair : Loss and Damage
welcomes any creative practitioners to apply. However, we are keen for applicants to engage in the critical discourse surrounding their practices.
Q. Who can apply to Ways of Repair : Loss and Damage?
Any artist and/or curator (including collectives) can apply from anywhere in the world for the Ways of Repair : Loss and Damage
open call, but applications from practitioners representing the Most Affected People and Areas
(MAPA) —those at the forefront of intersectional experiences of the climate crisis in the global South and North— are particularly welcome.
Q. We are a collective and we want to apply to the Ways of Repair : Loss and Damage?
open call. How should we include the names of all those involved?
A. For collective, please nominate one contact person to make the application and receive correspondence. Please use the bio section of the application form to list the name of the collective and its members. If your collective is very large please use the CV section of your PDF to provide further information and/or a full list of names. Please note that if your collective is selected you will need to nominate one member to be the focal point and will need to ensure that at least one nominated member can consistently attend meetings and workshops throughout the Ways of Repair : Loss and Damage
online artistic research residency.
Q. What will I be expected to do if I am selected for the Ways of Repair : Loss and Damage
online artistic research residency?
A. Selected artists and/or curators will be expected to:
1. Participate in four online events — three workshops and one symposium;
2. Participate in monthly online calls with the Ways of Repair : Loss and Damage
team and other selected artists;
3. Participate in three online mentorship sessions;
4. Contribute research in progress to a digital restitution on the Ways of Repair : Loss and Damage
website. This may include but is not limited to, work in progress, a finished piece, documentation of a performance, and will be agreed upon in dialogue with the Ways of Repair : Loss and Damage
Q. What is loss and damage and what is Loss and Damage?
A. Loss and damage technical term used by climate scientists, researchers and policymakers to describe the devastation that is being caused by the climate crisis is “loss and damage” (lower case “l” and “d”). Whilst, “Loss and Damage” (uppercase “L” and “D”) is the term used to describe the policies and plans that are implemented to address loss and damage, such as those that are negotiated at the United Nations Framework Convention on Climate Change (UNFCCC).
Q. Why are Ways of Repair : Loss and Damage
using the MAPA term?
A. It’s all about intersectionality and recognising that the climate crisis is hitting some people harder than others. Intersectionality looks into how someone’s various cultural, political, and social identities (such as gender identity, sexual or romantic orientation, racial identity, nationality, religion, disability, and more) intersect and create systems of discrimination, disadvantage, and privilege.
The Most Affected People and Areas (MAPA) are located in all territories in the Global South (Africa, Latin America, Pacific Islands, Asia etc.) as well as marginalized communities (BIPOC, women, LGBTQIA + people, persons with disabilities etc.) that live anywhere in the world.
Following the leadership of Fridays for Future, Ways of Repair : Loss and Damage
uses the term MAPA to recognise that the artists and curators that are impacted the most by the loss and damage that the climate crisis is causing have lived experiences, expertise and knowledge that is particularly relevant to the program which must be made more visible.
Q. What is the maximum upload size for the PDF that I need to submit with my application to the Ways of Repair : Loss and Damage
A. The maximum file size for your PDF is 10MB.
Q. When is the deadline for the Ways of Repair : Loss and Damage
A. The deadline is 12th of November 2023 at 23:59 GMT.
Q. What stipend will selected participants or collectives receive if selected for the Ways of Repair : Loss and Damage
A. Each participant or collective will receive a stipend of £10,000 (approximately $12600), paid in 3 equal instalments, at the beginning of the program, at an interim point, and at the end of the program. Please note that the stipend provided is intended to provide 42.5 days of work at a daily rate of $296.87 / £235.37 a rate based upon Artist Union England Rates of Pay. These 42.5 days of work are intended to enable the participant to engage with the program’s activities and undertake their own research. Proposed research projects may be already in progress or developed specifically for the open call. However, it is important to recognise that the stipend provided is intended to cover the artist’s time to engage with the Acts of Repair : Loss and Damage program and not the production costs associated with the proposed research project.
Q. What other benefits are there to being selected for the Ways of Repair : Loss and Damage
A. The participants and collectives will benefit from three tailored mentorship sessions with a practitioner relevant to the focus of their research, and will be supported by the Ways of Repair : Loss and Damage
team throughout their research process. Each participant will also be invited to become a member of the Loss and Damage Collaboration
(L&DC), and receive matchmaking support to establish connections and collaborations with Loss and Damage researchers, policymakers, advocates, activists and negotiators from around the world.