Do Independent Artistic Practices in the Era of Globalization hinge on the artist's ability to visit countries other than his or her own? How does artist travel relate to other forms of human mobility?
- A Burmese artist must go to Bangkok to apply for a Canadian visa.
- Indians now need a transit visa to pass through London.
- A Senegalese residency manager flies through New York en route to Toronto and is forced to buy a new ticket via Paris for the return flight because US Immigration (located in the Toronto airport) will not allow the return transit through New York.
- - A Syrian artist cannot receive a travel grant from a US foundation due to nationality.
As hurdles to mobility increase and borders tighten, freedom of thought and expression are obstructed at a time when tensions are already high across cultures. Will the concept of an artist visaever gain momentum? Would it solve these issues? Artist residency administrators and networks have a huge stake in the policy outcomes pertaining to mobility and cultural exchange. Res Artis joins with other networks and coalitions, such as the 4thUpgrade! International Conference - entitled Soft Borders - October 18thto 21st, 2010 in São Paulo, Brazil (), in support of artist mobility.
Please share your success stories', unsuccessful attempts, lessons learned and tactics with us as you invite and host artists from across borders. These vox pop interviews will be coupled with links and resources on visas and mobility as a part of the online record of the 2010 Res Artis General Meeting.
Artists’ movements across the globe are an important factor in the ongoing construction of the creative world. The events, biennials and residencies in which artists take part, now provide access – though not unconstrained access– to international cultural productions. Despite this premise, the so-called post-colonial world continues to legitimize a stereotyped representation of what is on its peripheries. Barriendos suggests an inspired reading of decolonization, one conscious that the presentation of works and the debates about them always take place around a centre of power. Barriendos concerns himself more particularly in this presentation with artists’ residencies and the way they allow for a mobility of creative action. Joaquim Barriendos is presently Invited Professor in the Department of Art History at the University of Barcelona; his teaching turns on a critique of institutions, visual culture and global art.
Joaquín Barriendos is currently visiting professor at the University of Barcelona (Art History Department), where he teaches on institutional critique, visual culture and global art. Between 2008 and 2009 he was visiting-researcher at New York University (Program in Museum Studies). In 2007 he founded the platform Global Visual Cultures, an open forum for theoretical and interdisciplinary-led research in visual studies, cultural globalization, interculturality, and contemporary art. He co-coordinates the Research Group on Art, Globalization and Interculturality. He is part of the network Visual Culture Studies in Europe, a collective academic platform coordinated by Marquard Smith (University of Westminster). He conducts the research project The Rise of Global Art: A Geopolitical View on the International Contemporary Art System (University of Barcelona). In 2005 he co-founded the transnational cultural platform TristesTópicos, which focuses on the analysis of Latin American contemporary art practices, cultural policies and economic imaginaries. He is part of the network Red Conceptualisms del Sur, where he coordinates the platform Tactical Modernities.
Forty year after their emergence, artist-run centres hold a predominant place in the visual arts scenes of both Quebec and Canada. What is the situation in New York or Sao Paolo? Or in the rest of the America?
What remains of the legacy of the 1970s in artist-run centres? There has been criticism of the institutionalization and bureaucratization of centres when confronted with the increasing demands of funding bodies, but the ongoing evolution and multiple directions taken by some organizations continue to allow them to experiment with risky curatorial approaches, experimental residency programmes and an ongoing interrogation of their management structures. So, has the spirit of artist-run centres really changed?
Faced with reorganization on the part of large, museum-level institutions seeking to develop a sense of inclusion and community participation, what role may artist-run centres play? How may they maintain their front-line services and democratic spirit while keeping artists’ innovative creative practices at the heart of their concerns?
The Journey In/Out investigates the complex context in which Aboriginal art practices are taking place. The field supports community based to cosmological conceptual explorations. These expansive approaches are transforming Native contemporary artistic and curatorial practices in a postmodern, post-industrial and supposedly, post-colonial world. Topics address the issues conjured by Aboriginal artists beyond cultural clichés, as they produce through an Indigenous lens with the intent to transform contemporary space. What are Aboriginal artists faced with?Are you a host organization for a future Aboriginal Artist in Residence?
The Aboriginal Curatorial Collective is a non-profit organization dedicated to informing the public about the role of Aboriginal art curators in protecting, fostering and extending Aboriginal arts and culture in North America and around the world. It operates through acquisition, conservation, interpretation and exhibition. By sponsoring conferences, lectures and publications, the ACC increases public understanding of the issues facing Aboriginal artists and curators.
Francine Royer, Conseil des arts et des lettres du Québec (QC)
Ayeh Naraghi (UNESCO)
David Panton, Acme Studios (UK)
Juan Jose Dìaz Infantes artist, curator and cultural activist (MX)
Sebastien Sanz de Santamaria, Residency Unlimited, New-York (US)
Monique Badaro (BR)
Pierre Beaudoin, moderator
Partners for life or partners in an adventure? In this session we seek to give voice to government bodies and organizations who, when putting in place residency programmes and international exchanges, develop short, medium and long-term strategies to deal with policy. How is hosting someone in residency favored or penalized by governmental policy/policies and the framework of international agreements? How may we establish a hosting policy that is independent and equitable, or is that even possible? How can the strategies and mechanisms put in place by organizations create sustainable ties outside of national policies?
"I chose to study residency activity as a means of conducting research and as a movement towards action. To me, it is an activity in and of itself. Every day the residency becomes a workshop wherein an immense exploration and movement take place. Every day a new exhibition is made and destroyed. It is a matter of working within a break in daily life, and of confronting one’s habits. In residence there is little place for lies. It is a space for unveiling." Sylvie Cotton is an artist who works in performance, visual and text based practice. She lives in Montréal.
Akaya Windwood, Rockwood Leadership Institute (US)
Kay Ulanday Barrett, poet, educator & performer (US)
Lino Hellings, artist (NL)
Olga Lafazani, Lesvos NoBorder Camp organizer (GR)
Joaquin Barriendos, Global Visual Cultures (MX) [guest discussant]
Todd Lester, Founder/Director of freeDimensional & Creative Resistance Fund (US), moderator
What do artist residencies have to offer society in general, and the broad range of issues it faces? How are hosting and hospitality essential to cross-cultural exchange and mutual understanding? Wooloo, a Danish artist collective responsible for housing 3,000 grassroots activists and culture workers on couches during the COP15 Climate meetings; or the Sahara International Film Festival, which annually brings hundreds of tourist-activist-campersto an outpost in Algeria in order to witness the plight of refugees from Western Sahara; and closer to home, the Ontario Arts Council is piloting a program for artists-in-residence at healthcare facilities.
At a time when tensions are high across borders and cultures (and resources scarce), citizens, communities and governments are listening to artists and arts administrators as vanguard voices on complex issues, and look to the solutions they propose with renewed interest … even urgency! Future Residencyis a set of panels focusing on the practice of hosting and how artist residency models influence other sectors and vice versa. It’s a call and response experiment with the first panel of artists, activists and practitioners presenting social issues and practices, which may include racism, aging, illness, homelessness, leadership, human rights, migration, sexual orientation, peace and conflict resolution. Panel II is made up of residency and hosting innovators who – through their experience in the field – will respond to the subjects raised by Panel I, and also suggest a future role for the residency in light of the pressing social needs that characterize the ‘era of globalization’ and trickle down to localities and communities of which artist residencies are members.
Rudolf Brünger, UFA Fabrik, Berlin (DE)
Peter Legemann, Schloss Bröllin, Bröllin (DE)
André Malacket / Benoît Lachambre, Par B.L.eux (QC)
Caitlin Strokosch, Alliance of Artists Communities (US)
and more presentations to be confirmed
A new working group within ResArtis deals with the promotion and networking of residencies for the perfoming arts. Until today, we have a very limited number of hosting organisations which
- can host ensembles, which is the basis for the perfoming arts;
- can provide good rehearsal spaces;
- have the financial means to support not only individuals, but groups.
It is important to enforce politically the growing demand of ensemble work in a changing artistic practice worldwide. After previous meetings with members of ResArtis and of the ACCR network, Schloss Broellin has initiated a work-meeting in September 2010, bringing together international cultural organisers from funding institutions, artists' residencies, economic policy-makers, and the tourist branch.
The agenda included the following questions:
- Definition of needs in the different countries from the point of view of artists and of organisers for residencies.
- Examining new models for collaborations, e.g. with the tourism branch and economic policy/support
- Examining existing EU-Funds and develop propositions for national, and international funding organisations.
In this workshop during the Res Artis GM we want to share with you the results, open new questions, broaden the view to a global perspective. Discussing the differences of problems and needs shall lead to the setting up of a the work-program for the future.
David Naylor, Est-Nord-Est (QC), moderator
Armando Sobral, Instituto de Artes do Pará (BR)
Wapikoni Mobile (QC)
Taylor Van Horn, Instituto Sacatar (BR)
Instituto Sacatar (BR)
Danyèle Alain and Caroline Boileau, 3e Impérial(QC)
This workshop investigates artists’ residencies that take place in locations removed from large urban centres. In these creative spaces, questions come up about the residencies’ antecedents, interactions with the hosting structures, and those that arise between artists and local communities.
- How do these structures take part in the life of their communities, and how do the communities influence the host organization?
- In geographical isolation, or less densely populated areas, how does one establish a network of international alliances and so increase awareness of the organization and expand its potential influence?
- What are the responsibilities and consequences of being the only cultural organization in a region? How does one encourage local cultural production and knowledge?
This year’s GALA is truly going to be a night-to-remember for the visual arts community of Montréal – in tandem with the international Artist-in-Residence conference Res Artis, hosted this year by the RCAAQ, and showcasing artists nominated for the prestigious Sobey Art Award, the GALA is going to be off an off-the-hook, all-night-long art party. (Download a PDF)
Nicole Brossard is a poet, playwright, essayist and novelist. From the appearance of her first collection in 1965, she has gone on to publish over thirty books. An heir of the avant-gardist tradition, she is involved in an investigation of lesbian resistance and marginality through writing a poetry she characterizes as without limits, radical and plural. An inescapable figure in feminist writing, her books have been translated into multiple languages and earned her an international reputation. For this conference, Nicole Brossard takes as a starting point her experience as a writer in residence, the central place of art and poetry in a world in meteoric acceleration and language as a source of reflection.
Networking & website, Coaching & mentoring, Awards & fellowships, Visa reform.
This panel examines the challenges of mobility within the Americas by considering not only prevalent North-South mobility issues, but also cultural exchange initiatives within Latin America. Panelists will offer a variety of perspectives, and include government representatives, non-profit organizers, as well as artists who engage in, and visually represent, cultural exchange. Some of the questions we will address include: What is the role of existing and developing networks in promoting and facilitating this mobility? What is the role of the artist in addressing these issues within their own practice? How do approaches to trans-national mobility address the “nations-within-nations” situation of Indigenous peoples?
In this workshop the panelists will look at the particularities of writing and research residencies. Such residencies require relatively simple infrastructures that allow for thought, documentation and the act of writing. They need adequate spaces and a flexible relationship to time.
- What factors are necessary to getting work done and how might writing’s “lightness” as a form empower writers’ and researchers’ mobility?
- How can we, as an organization, strike a balance between the required isolation and the desired interaction?
- Moving from one culture to another inevitably implies language, text. What role do translation, interpretation and the hosting language play in international residencies?
Arantxa Mendiharat, Improbables (ES)
Jean-Baptiste Joly, Schloss Solitude (DE)
Fazette Bordage, Mission Nouveaux Territoires de l'Art, Institut des Villes (FR)
Eduard Lanchero, Peace Community San Josde Apartado (CO)
Joaquin Barriendos, Global Visual Cultures (MX) [guest discussant]
Todd Lester, Founder/Director of freeDimensional & Creative Resistance Fund, moderator
What do artist residencies have to offer civil society and the broad range of issues it faces? How are hosting and hospitality essential to cross-cultural exchange and mutual understanding? Consider Wooloo, a Danish artist collective and organizer responsible for housing 3,000 grassroots activists and culture workers on couches during the COP15 Climate meetings. Annually, the Sahara International Film Festival brings hundreds of tourist-activist-campersto an outpost in Algeria to witness the plight of refugees from the Western Sahara. And more close to home, the Ontario Arts Council is piloting a program for artists-in-residence at healthcare facilities.
At a time when tensions are high across borders and cultures (and resources scarce), citizens, communities and governments are listening to artists and arts administrators as vanguard voices on complex issues and look to the solutions they propose with renewed interest … even urgency! Future Residencyis a set of panels focusing on the practice of hosting, looking at how artist residency models influence other sectors and vice versa. It’s a call and response experiment with the first panel of artists, activists and practitioners presenting social issues and practices, which may include racism, aging, illness, homelessness, leadership, human rights, migration, sexual orientation, peace and conflict resolution. Panel IIis made up of residency and hosting innovators who – through their experience in the field – will respond to the ideas from Panel Iand suggest a future role for the residency in light of pressing social needs that characterize the ‘era of globalization’ and trickle down to localities and communities of practice for which artist residencies are members.
Given by Annie Gauthier (QC)
The publication of the Handbook of Management Skills for Artist-Run Centres grows out of a need to give ourselves shared reference points in discussing our organizations’ professional development requirements. In fact, despite their 40 years of existence, little literature exists on organizational models for artist-run centres.
This training session’s objective is to outline the publication: the motivations that gave rise to it, the description of its content and the usefulness of the resources guide. Emphasis will be given to the knowledge base and specificities of artist-run centres in relation to other organizations in the visual arts community (museums, festivals, private galleries, etc.). Over the course of this brief training session, in addition to learning how to use the Handbook, participants will also have the opportunity to discuss the values prevalent in our organizations, the ambiguities that come from shared roles and responsibilities, and the impact of centres organized into a network with nearly 170 member organizations.