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2024 Call for Artworks


Theme: Organic Creative Spaces

The art exhibition calls for artists working with the notion of organic creative spaces as inspired by Frank Lloyd Wright’s Organic Architecture. Defined as both a philosophy and a practice in the architecture discipline, organic architecture uses minimalist forms, materials, spaces and design considerations that blend with their natural environments. These may vary from the digital sphere (such as the virtual environment used for the 2023 conference) to a physical one (the gallery space to be used for the 2024 conference), but both platforms encourage the re-invention, re-interpretation, and re-situating of materials to span our most occupied creative spaces and the way they are realized in community and collective practice.

Important Dates

Title and Abstract deadline: January 22, 2024 January 29, 2024 11:59 p.m. 

Full paper submission deadline: January 29, 2024 February 5, 2024 11:59 p.m. 

Notifications: April 1, 2024 April 8, 2024 11:59 p.m. 

Camera-Ready completion deadline: April 22, 2024 11:59 p.m. 

Deadlines are specified as Anywhere on Earth time.


The Bridgeport Art Center in Chicago, IL, USA.


  • Deborah Turnbull Tillman, The University of New South Wales (UNSW), Sydney, Australia
  • Hallie Sanclemente Morrison, Freelance Producer, Artist, Researcher, Chicago, IL, USA.


Call Description

With architecture spanning physical and digital platforms and incorporating technologies such as CAD software, 3D-printing and rapid prototyping, creative robotics, engineering, materials and site specificity; the consideration of Frank Lloyd Wright’s Organic Architecture and creative organic spaces allows us to rethink how we might incorporate natural settings more intuitively with the spaces/sites we design in and for. 

With creative practice spanning all of the above disciplines, the Art Chairs for C&C 2024 call for artworks that re-contextualise notions of immersion, the use of materials, types of software generation, fashion waste management and human engagement that is more harmonious with the worlds we create. Can we creatively assess and design spaces for global problems such as climate change, human rights, the fair delegation of the planet’s resources, and balance that with a quest for peace, calm and sense of the centered self amidst our communities? If so, what does this look like? What is the collective experience of these ideals?

The C&C ‘24 Arts Exhibition will explore ways in which artists, architects, designers, philosophers and futurists can collaborate to engage audiences across platforms in a deep dive of materiality and themes relating to the natural surroundings of the spaces we create for ourselves. 

The online exhibition in 2023 explored a variety of digital artworks in the platform. Exhibited works included AR/VR worlds, interactive, digital and sonic artworks and 3D sculptures in a layered multi-platform environment. The physical exhibition in 2024 will be held at The Bridgeport Art Centre’s Sculpture Garden. This thriving artist’s residency and exhibition space can showcase similar themes and ideas in the form of physical objects such as installations, virtual and/or augmented realities, experimental cinematic shorts, performances and/or works that are suited to the exhibition venue. Interactivity and materiality will remain a central concern, and any craftsmanship (coding, modeling, 3D-printing, etc) should be articulated. You should also indicate in your application the environmental needs of your work, i.e. does it require power or wired / wifi internet, does it need to be in the dark, or spot-lit, does it require listening to or does it make sound, can it be outdoors, does it have a time duration, it runs once, it loops, etc. When thinking of what you might submit, please consider:  How do each of the elements of my work creatively engage and extend the spaces they take place in? What do the new spaces look like? How might we engage the spaces between the nexus of physical and digital worlds?

The Arts Exhibition will engage visitors in various ways and exhibiting artists will have a chance to receive feedback from a knowledgeable group of peers on their works. Audiences for the physical gallery space will likely be conference attendees, university staff and students, and invited guests. As is fitting with the theme of creative organic spaces, the works should respond to and blend in with their respective environments, be it digital or physical. 

Format and Submission Details

We are accepting two forms of submissions: 

1) submissions of existing works; and,

2) proposals for doing work with the infrastructure available at the venue. More information to follow.

Existing works: 

Submit a document of up to 2000 words, excluding titles, references and figure/table captions which includes:

  • Links to a visual portfolio of the artwork
  • Images and video for time-based work
  • Narrative description of the piece, specifying both its conceptual goals and its functional operations
  • All technical and logistical requirements of the piece, including: equipment needed, whether you are providing that equipment, space requirements, any special auditory, lighting or other physical need, time needed for set-up, and whether the piece needs to be staffed during the exhibition. Please indicate if there are any safety implications (e.g., soldering) that may need health and safety compliance

Proposed works: 

Submit a document of up to 2000 words, excluding titles, references and figure/table captions which includes:

  • A proposed description of current state of the project
  • Any existing documentation of the work in other forms
  • A proposed development path

For either form of submission, we require a PDF document prepared using the ACM submission template (Latex and Word templates are available) in single-column format. Accepted submissions will be part of the curated proceedings for this exhibition.

Seeking Help

It is important that your submission is formatted correctly. Incorrectly formatted submissions might be rejected. Online guidance is available from the ACM at: 

Examples of three formatted artwork submissions chosen at random from the C&C 2022 conference (example 1, example 2, and example 3) and the entire online C&C 2022 proceedings.

Curatorial Advisory Committee

Professor Sarah Cook, Glasgow University

Professor Janis Jefferies, Goldsmiths, University of London

Benjamin Weil, Director of Centro de Arte Moderna, Calouste, Gulbenkian Foundation

Luba Elliott, Freelance curator, Producer, and Researcher

Professor Yasuaki Kakehi, University of Tokyo

Where to Submit

Please submit via the Precision Conference (PCS) website below: 

Once you have logged into the PCS website, select the following options under “Submissions” and click the Go button.

Society: SIGCHI

Conference/Journal: Creativity & Cognition 2024

Track: Creativity & Cognition 2024 Artworks

Publications Policy

  • By submitting your article to an ACM Publication, you are hereby acknowledging that you and your co-authors are subject to all ACM Publications Policies, including ACM’s new Publications Policy on Research Involving Human Participants and Subjects. Alleged violations of this policy or any ACM Publications Policy will be investigated by ACM and may result in a full retraction of your paper, in addition to other potential penalties, as per ACM Publications Policy.
  • Please ensure that you and your co-authors obtain an ORCID ID, so you can complete the publishing process for your accepted paper. ACM has been involved in ORCID from the start and we have recently made a commitment to collect ORCID IDs from all of our published authors. The collection process has started and will roll out as a requirement throughout 2022. We are committed to improve author discoverability, ensure proper attribution and contribute to ongoing community efforts around name normalization; your ORCID ID will help in these efforts.