The cultural association KANINCHEN-HAUS with the support of Fondazione 
Cariplo invites curators, critics, and theorists from different 
disciplines to submit contributions for the publication of the 
Pirate-Camp READER, a volume on the theoretical issues related to the 
project “Pirate-Camp / the Stateless Pavillion” (www.pirate-camp.org) an 
itinerant artists campsite that took place during the last Venice Biennale.
The aim of the publication is to explore, develop and reconsider in a 
multidisciplinary way the key tropes underlying the pirate-camp project: 
piracy, extraterritoriality, statelessness, temporary occupation, the 
camp, understood as potent concept-tools to interpret contemporary 
artistic and cultural practices.

The deadline for submission of abstracts is March 30th 2012.
The authors of the selected contributions will be awarded 400 Euros.
For further information, please visit: 
http://www.pirate-camp.org/call-4-papers-pirate-camp-reader/

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Pirate-Camp http://pirate-camp.org is the first itinerant artists’ 
camping program created to give free hospitality to a selection of young 
international artists during the most important contemporary art events 
worldwide. The first Pirate-Camp took place during the 54th Venice 
Biennale of Art violating the notorious ban on camping in the Laguna.

Pirate-Camp is promoted by the non-profit organization Kaninchenhaus 
with the support of the Fondazione Cariplo and the patronage of the City 
of Turin and GAI (Association for the Circuit of the Young Italian 
Artists) and with the collaboration of the Department for Youth policies 
of the City of Venice and of Art Enclosures (Residencies for visiting 
international artists in Venice created and produced by Fondazione di 
Venezia). The project also involved a network of Italian artist-run spaces.

Following Coniglioviola’s “Pirate Attack to Venice Biennale” 
http://www.coniglioviola.com/en/attacco-pirata-biennale-venezia/ 
performed by the group in 2007, Pirate-Camp represents the next step in 
this story. After the attack, time has come for the pirates to halt on 
the mainland: colonize the territory and share the treasures stored 
during their long trip, before taking the Sea route again. The 
Pirate-Camp – filling up the ideal gap between the sea, the pirates’ 
dominion, and the land, the system’s dominion – is first and foremost a 
work of art itself. It is the metaphorical representation of the natural 
and necessary condition of being-an-artist. The analogy between the 
artist and the pirate/encamped is the pivot concept, both from a 
symbolic and a philosophical point of view: a status of 
extra-territoriality which grants the artist a privileged point of view 
to critically observe and depict the world.

Pirate-Camp responds to a need shared by many young artists: the great 
international art events, such as biennials, fairs or exhibitions, force 
young people to invest often large amounts of money in travel and 
lodging. For this reason the creation of a totally free camping has 
allowed a set number of artists – selected by public competition – to 
live the experience of these events.

Pirate-Camp is an independent project designed by artists for artists. 
The Residencies we are used to, are generally organized by institutions, 
museums or private patrons, and seem to work on the unwitting assumption 
that, not just the work of art, but its creator as well, can be 
objectified and included in some sort of a private collection. On the 
other hand, the Pirate-Camp wants to be a living platform, and each and 
every participant becomes essential to its life. The Pirate-Camp wants 
to be a great platform supporting the exchange of new ideas and the 
mobility of young artists. Such a place wants to give life to a 
collaborative experiment of artistic creation and encourage the 
development of a collective and solid conscience, creating an 
international network able to experiment alternative and independent 
forms of intervention within the contemporary art system.

“The Stateless Pavillion” is the title and theme of the 1st Pirate-Camp: 
an invitation to focus on the theme of extraterritoriality seen as a 
natural and necessary condition for being-an-artist. A theme which finds 
it symbolical representation in the project’s two key-figures: the 
pirate and the encamped. The status of not-belonging-to-any-place 
(whether real, common, cultural or symbolical), living on the edge, on 
the one hand consigns the artist to a condition of marginality, on the 
other it grants him a privileged point of view in representing and 
discussing the world. The statelessness theme earns a special meaning 
when related to the context of La Biennale di Venezia, whose absolute 
peculiarity resides in the representation of national identities.


THEMATIC CONTEXT

In this historical moment the concepts of belonging-to-place, the idea 
of having a permanent home in the world, are put radically into 
question. This is why the figure of the pirate and the camper become two 
key references: survival solutions that we all should consider for a 
different awareness and disposition towards the “system”. The project 
pirate-camp wanted to suggest an analogy between the “mythological” 
status of the pirate and the condition of practicing art, in all its 
possible articulations. The pirate is not just an outlaw, but also an 
outsider from any legal right, because he does not live anywhere. This 
condition is the origin of both his power and his total marginalization. 
So much so that the pirates, unlike corsairs, if captured, were not 
treated according to the rules of maritime war law, but were summarily 
executed. Such status of radical extraterritoriality, the living 
out-of-places (both real or cultural) is intended also as the necessary 
condition of artistic practice: on one side, it establishes an 
impossible integration on the other it also guarantees a privileged 
point of view for the representation and the questioning of the world.

Based on these premises. we are looking for theoretical contributions 
that explore the philosophical, political, social implications of such 
key concepts.


SUBMISSION GUIDELINES

This call for papers is dedicated to curators, critics, scholars and 
theorists. Your submission should include an abstract (maximum 800 
words) and a short cv. Texts can be in English or Italian.

The deadline for submissions is March 30th 2012.

The authors of the selected abstracts will be invited to develop a final 
contribution of about 3000-5000 words.

The Pirate-Camp READER will be printed under a CreativeCommons License 
and made also available as e-book.

Submissions, comments and queries can be sent to pap...@pirate-camp.org




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