These will be assessed by a panel of experts and a shortlist of applicants will be interviewed

These will be assessed by a panel of experts and a shortlist of applicants will be interviewed. Forms are available from the special hotline number 0171-231 5432; the Lonely Planet Internet hhtp:// www.lonelyplanet .auor at STA Travel shops.When to enter: By 26 April Winners will be announced on 6 May. If you are planning to leave before then, don't despair, we may be making interim awards.How much is the prize? The total bursary is pounds 25,000 and the amount awarded to winners is at the judges' discretion. It is possible that one exception proposal (say a tour of the 177 countries where Heineken Export is available) could win the full amount.... The London art scene in the Nineties has been pretty much a group one. And the group by and large has been the one that came out of Goldsmiths' College around '88 or '89 and showed at the two ground-breaking warehouse exhibitions that Damien Hirst curated: Freeze (1988), and Modern Medicine (1990). There was an attempt to re-create the spirit of these shows in the winter of 1995, when the Walker Art Center in Minneapolis put on Brilliant! New Art From London.

Nineteen of the artists represented went over to America for the opening, and the party was still continuing several weeks later at various locations in London. One night, in the falling-down season just before Christmas, it surfaced in an industrial building close to Smithfield market, where it was the usual happy boil-up of heads, throats, sweat-pasted hair. But with this crucial difference: the palpable sense, shared by everybody present, of living in an unrepeatable moment, of being there when. The crummy building with the lurching lift and echoey stairs and sodden landings and poorhouse institutional walls... the battered sofa and dumpster fridge and skittled bottles of Lowenbrau and Smirnoff and Jim Beam... a great silver cycloptic Mitsubishi television and a drum kit on a carpet and the tape of a gymnast looping over against a wall.. It was generic. Angus Fairhurst had put together a band which, in addition to himself, included Mat Collishaw and Gary Hume - his (and Damien Hirst's) contemporaries at Goldsmiths'.

Artists in the band, with artists out front - Sarah Lucas, Abigail Lane, Michael Landy, Tracey Emin, Angela Bulloch - supporting them.Low Expectations' first public performance was the excuse for the party in the studio in Clerkenwell Road. And even those who hadn't been there before, had been there before, had been there before. This was Warhol's Exploding Plastic Inevitable at the Electric Circus in 1965; it was Rauschenberg and Oldenburg and Rosenquist and Poons playing at Bob and Ethel Scull's party, described by Tom Wolfe in "Bob and Spike", in the mid-Sixties, around the time most of these people were being born.It would be naive to suppose that there weren't the usual undercurrents of competitiveness and petty jealousy and frustration circulating. But as a group and for the time being they present a conspicuous and almost unprecedentedly united front. In Minneapolis, for example, Damien Hirst agreed not to show any of his dead animal pieces. In the interest (it was said) of group solidarity: it was feared that the controversy they aroused would inevitably overshadow everything else in the show.It may also be because he felt that his appearance in Minneapolis would shift the balance of attention unfairly in his favour that Damien Hirst did not accompany the others to the opening of Brilliant! Since his first short-listing for the Turner Prize in 1992, he has achieved the level of promiscuous Warholian celebrity that long ago transcended the coterie journals of the art press: he can turn up as a gossip column item, a game- show question or an op-ed cartoon. The original title for the film which is his contribution to Spellbound was Flying ("Everybody in it was going to have their zips down") - a (possibly unconscious) reference to a career trajectory that has so far defied gravity.

The film's central image is of a wartime Spitfire pilot flying mesmerically upwards into the blue beyond: "You have no sense of time or distance or even gravity and there's a deadly silence. The engine cuts out and there is a sense of nothingness and then a sense of falling backwards... back down to earth." The Icarus plunge is the prevailing counter-image: a doctor is defenestrated; a butterfly burns its beautiful wings on an Insectocutor. In an early version of the script, a woman falls off a ladder and is impaled on a minimalist steel sculpture by Sol Lewitt: up like a rocket, down like a stick.In the film there is constant heavy traffic in a skywards direction of the souls of the deceased - of everybody, in fact, unlucky enough to drift into the force field of the dreamy, duffle- coated figure known as Marcus Hellman, a kind of unwitting but increasingly witting terminator - a serial killer, or serial assister in death. Way to go! His victims are turned into road rash, wrapped around lampposts, pitched out of windows; they slit their wrists, stick their heads in the oven, go up in flames.Any connection between Marcus Hellman and Andy Warhol may be wholly accidental, but the visual referencing of Warhol images - a car crash, a mid-air suicide, other nods to Warhol's "death-and-disaster" series - certainly is not.Andy's Children: They Die Young was the title of a magazine article which appeared while Warhol was still alive and running his "Factory". Since his death a number of former Factory-hands have expressed the view that Andy drew succour from watching what he regarded as the bits of human flotsam who hung around him go under.

"Andy loved to see other people dying," Emile de Antonio has said. "This is what the Factory was about: Andy was the Angel of Death's Apprentice as these people went through their shabby lives with drugs and weird sex and group sex and mass sex."By this reckoning, Warhol (like Marcus Hellman) represents the obverse of Schrodinger's metaphor about the essence of life being the suction of negative entropy from the environment. "I wonder if Edie will commit suicide?" it is claimed Warhol once said of his former "superstar" Edie Sedgwick. "I hopes she lets me know, so I can film it." Warhol's film Suicide, his first experiment with colour, was based on a man who had tried to slash his wrists 23 times.