The AiR Collection - artist residencies + activism
The Silent University - Silent Activism
a year-long residency at Tate
The Silent University is a knowledge exchange platform initiated by artist Ahmet Ögüt through a year-long residency at Tate in partnership with Delfina Foundation. It is led by a group of lecturers, consultants and research fellows. Each group is contributing to the programme in different ways which include course development, specific research on key themes as well as personal reflections on what it means to be a refugee and asylum seeker. This platform will be presented using the format of an academic program.
Townhouse Art residency, 3 stories from 2004 to 2012
Image above:Tahrir Square located only a few hundered meter distance from Townhouse.
Three stories; one from Negar Azimi dating from 2004, one talk in 2011 on political revolutions and changes in the region, and one conversation in 2012 in how Townhouse is reacting to this by making their space available to communities with other needs and initiating projects that respond to the desire for reflection, discussion, and social responsibility.
2004: Art Scene Egypt
A brief background on Cairo's Townhouse Gallery amidst Egypt's burgeoning art sceney Negar Azimi
"Geographic location is central to the operation of Townhouse as a space. Situated at the junction of two lanes in the midst of the aforementioned auto-mechanics' district, the gallery is a small piece of an urban microenvironment. The gallery's relationship to the lane and its residents has engendered a near-anthropological approach to its operation."
2011: "We where shipping things into the square from the gallery..."
How artists and institutions in the Middle East are engaging and activating with their local communities in the context of recent political revolutions and changes in the region? Listen to the full talk here
With Negar Azimi, Senior Editor, Bidoun Projects (a not-for-profit publishing, curatorial, and educational initiative), and William Wells, Director, Townhouse Gallery of Contemporary Art, Cairo.
2012: Sarah Rifky in conversation with William Wells
Since the Arab Spring, in Egypt, a classic programme of exhibitions has become irrelevant. Townhouse is reacting to this by making their space available to communities with other needs and initiating projects that respond to the desire for reflection, discussion, and social responsibility. Sarah Rifky talks with William Wells about the history of the Cairo-based gallery and residency program, which has recently become a foundation.
- William Wells born in Canada, founded Townhouse Gallery in 1998, and has been director there ever since.
- Sarah Rifky is a writer and curator. Rifky is director of CIRCA (Cairo International Resources Center for Art), and co-directs Beirut, a space for art in Cairo.
- Read the full article here
"Nothing can be evaluated in isolation"
page 20 and 21 of the book, Images and text by Caspar Hall
" Research is the systematic study and investigation of material to establish facts, in reality. Realism is not a style, it is the result of conscientious artistic and social engagement. The template for residency programmes is rarely open ended; life continues after the artist leaves. Nothing can be evaluated in isolation, context is crucial, the challenge is to occupy and inform the events after they have taken place.The Pied Piper of Hamelin is a folk tale, which has its origins in fourteenth century Germany, it is believed to refer to the spread of the Plague, which circulated via traffic with the East. Stories have invariably spread with global trade. Today, this tale is often performed in theatres at children’s schools in England. The story is widely known in Turkey where the title is ‘Fareli Köyün Kavalcisi’.
From 1991 to 2009 the district known as Sulukule which is an historic site in Istanbul, was destroyed to make way for an urban re-generation project implemented by the local mayor. The Roma community, which have lived there since Byzantine times, are shrouded in myths imposed on them from outside: rebellious outsider or romantic gypsy troubadour, thief or genius. After the demolition of their neighbourhood, the inhabitants were moved to a sector 42km away, but soon returned to the surrounding area. In February 2010, I adapted the story of The Pied Piper of Hamelin, and ran a short- film project with a group of children from the neighbourhood around Sulukule. It was filmed on the site where their homes had existed and the local area; its aim was to refer to the destruction of their homes, and endeavour to explore the subsequent changes to their circumstances. The story was given an optimistic interpretation, which contradicted prevailing opinions of how events had developed.
The project was a success and has evolved, so that there is now a framework in place for a film-school for the children in the community: predominantly Roma, but also Kurdish and Turkish.
The 'gypsies' now have the opportunity to confront the outside world by creating their own myths."
- series of 8 events in Amsterdam
- library with over 2000 laser-printed articles and books
- display furniture and library index
Reading Anarchism was initiated to celebrate the completion and first entire presentation of Yours in Solidarity, a film project that has the history of anarchism as its subject, and an online collection of anarchist writing - theanarchistlibrary.org - as one of its sources. Printed copies of all titles currently archived on that website were made available in an exhibition space, designed as a library reading room. Visitors could also produce copies of their favourite titles in the adjacent printing room free of charge. Nicoline van Harskamp invited people from different countries and professional fields to go through the collection and pick a single title from it. Two people were invited every week to present and read from their choice in the reading room, and subsequently host a discussion on it. The program for this ‘anarchism book club’ was announced week by week so that regular visitors were eventually able to present their choices as well.
Nicoline van Harskamp’s work investigates the relationship between politics and personalities, and speech as a political act. Her work questions issues of authority and power, and organized political systems. Yours in Solidarity focuses on the history and future of anarchism and revolves around the archived correspondence of the Dutch anarchist Karl Max Kreuger (1946-1999), now housed in the International Institute for Social History in Amsterdam. Kreuger maintained extensive correspondence with around 400 fellow anarchists worldwide.
Nicoline van Harskamp is currently artist in residence at the Kadist Art Foundation that encourages the contribution of the arts to society, collecting and producing contemporary artworks and conducting programs to promote the artist's role as cultural agent. Kadist's collections reflect the global scope of contemporary art, and its programs develop collaborations between Kadist's local contexts (Paris, San Francisco) and artists, curators and art institutions worldwide.
They are protesting!
The mission of Kadist Art Foundation is to participate in the contribution of the arts to society, collecting and producing contemporary artworks and conducting programs to promote the artist's role as cultural agent. Kadist's collections reflect the global scope of contemporary art, and its programs develop collaborations between Kadist's local contexts (Paris, San Francisco) and artists, curators and art institutions worldwide.
Snow and sand erasing infrastructures
DAAR is an art and architecture collective and a residency programme based in Beit Sahour, Palestine. DAAR’s work combines discourse, spatial intervention, education, collective learning, public meetings and legal challenges. DAAR’s practice is centred on one of the most difficult dilemmas of political practice: how to act both propositionally and critically within an environment in which the political force field is so dramatically distorted. It proposes the subversion, reuse, profanation and recycling of the existing infrastructure of a colonial occupation. The DAAR residency is an opportunity for practitioners to gain intensive experience in practice lead research and spatial activism, within the conceptual frame of the studio, in one the world’s most charged conflict areas.
The 2nd International Festival of the ActivistArt
Festival MediaImpact / Moscow, 19th of October – 8th of November 2013
Image below is provided by the festival website: Kiss my Ba group (RU) Monstration. Novosibirsk. 2011. Photo-documentation by Anton Yunitsin. courtesy of the authors.
The project encompasses a variety of forms and communication strategies of art activism such as community-based art, ecology and cultural heritage, politics, tactical media, music of protest and environmental art. The festival program consists of art-residencies, workshops and presentations, discussions and debates, as well as exhibitions and public art actions. A series of art expeditions to small Russian towns is planned within the festival. Also the festival plans to publish a line of small DIY editions with texts and art works of the leading activists to distribute in Russian regions and also during Moscow events.
the camera can become a weapon, or a defence tool
Irina Botea talks about her artistic residency in Barcelona, where she participated in the protest on 15 May. With relation to protests, where using the mobile phone camera is so obvious, she asks what kind of possibilities the mobile phone camera provides us. On one hand there is our obsession of recording images, but at the same time when we are recording images as the proofs, to defend ourselves, so the camera can become a weapon,or a defence tool. Beside that, she talks about workshop she lead together with artists Anita Serrano and Merce Ortega in Barcelona. It was focused on the interesting idea of how we can unmechanized ourselves.
research-based activism and education as empowerment
This project was also a public lecture series and complementary exhibition exploring critical and activist models of urban research and education, Critical Infrastructures presents the work of three American organizations—Archeworks, Artist Residency- the Center for Land Use Interpretation, and the Center for Urban Pedagogy—whose work engages directly with the economic, legal, and political forces shaping contemporary cities. The project offers a London audience a transatlantic perspective on how built environment practitioners and citizens can engage in forms of research-based activism and education as empowerment. The project brings these international perspectives to the UK at a critical moment of significant government divestment from both cultural programs and social services, in order to explore and provoke questions of how independent research and practice can address concerns previously underwritten by the state, in the face of increasing privatization and withdrawal from traditional civic roles. read more
Prepared: Strategies for Activists
A project by Chen Shaoxiong, William T. Kemper Foundation International Artist-in-Residence
This project and exhibition are supported by the William T. Kemper Foundation. The Spencer’s international residency series has also been supported by the Freeman Foundation and the Center for East Asian Studies, the University of Kansas.
The Flux Factory residency is tailored to American and international artists of varying media and practices. They welcome cultural producers of all stripes, social activists, academics, and anyone who is creative, adventurous, and willing to come to New York City and allow experiences here to influence new bodies of work. We are especially keen on artists who have a socially collaborative art practice.
Now Running: The Design Studio for Social Intervention Community Labor United is excited to announce a new Boston-based fellowship and residency program for socially engaged artists .The Department of Public Imagination. This pilot year, which will run from September 2013 to April 2014. The cornerstone of the program will be an eight-month residency with a community-based organization, which will serve as the artist’s home base for the duration of the program. Working collaboratively with their group’s members and staff, each artist will be responsible for initiating a creative action team that will design and implement public projects to address the specific challenges and aspirations of their group’s community base.
the birth of a residency program for socially engaged artists
Some time ago, during the Summer 2008 Youth Activism Design Institute, ds4si worked with 12 youth interns to explore the potential for indirectly intervening in neighborhood violence using unexpected tools like play, spectacle, and delight. The interns designed large-scale adaptations of childhood street games like simon says, hopscotch, taps, and tug-of-war and invited other to play on trains, in crosswalks, on sidewalks. They invited an artist to support the interns in the planning and implementation of these games, with particular attention to the element of spectacle produced by their props and costuming.
Now, 5 years later the Design Studio for Social Intervention and Community Labor United are excited to announce an official new Boston-based fellowship and residency program for socially engaged artists – The Department of Public Imagination. For this pilot year, which is running from Sept. 2013 to April 2014, three artists where selected to participate in an interdisciplinary program that builds creative partnerships between artists and member-led community groups in the greater Boston area. The cornerstone of the program will be an eight-month residency with a community-based organization, which will serve as the artist’s home base for the duration of the program. Working collaboratively with their group’s members and staff, each artist will be responsible for initiating a creative action team that will design and implement public projects to address the specific challenges and aspirations of their group’s community base.
Beirut Film Station
The Goethe-Institut and Ashkal Alwan, a non-profit organisation based in Beirut, have announced an open call for applications to Beirut Film Station, a film residency in Beirut. The application is open to emerging filmmakers from the Middle East and North Africa, who must be between 20 and 35 years old and have prior professional experience. Beirut Film Station offers technical support for film projects, nurtures the developing professional careers of regional filmmakers, and provides opportunities for networking and exchange between filmmakers in the Middle East and Europe. The residency promises "an artistically inspiring atmosphere in the middle of Beirut, time and space to work on your project under stress-free conditions," in addition to technical equipment, accommodation, transport, and a monthly stipend, according to the official website.
Todd Lester discusses his new personal project, Lanchonete, and the status of contemporary artist residencies.
Todd is the founder of freeDimensional, an organization that supports activists and artists-in-distress by providing safe haven in artist residencies. Until just a few weeks ago, he was the Executive Director of Global Arts Corps, an organization that uses theatre to advance reconciliation in societies emerging from violent conflict, a job he just quit to dedicate himself entirely to the Lanchonete project.
Q: And in what way is Lanchonete going to be different from other residencies currently operating?
A: I give myself permission to be critical of the residency sector, because I love to work in it and I worked in it for a decade. I feel able to criticize it because I know it. There are many ways to do a residency, but what works best is to have a bilateral negotiation with the community. Because right now you can have a week-long residency in São Paulo, but it can be just tourism. I listen to a lot of smart older people, for example Jan Willem Schrofer, who ran the Rijksakademie for years, saying that those sorts of programs start to deteriorate the idea of “the residency.” We call everything residency. But for me it means something, it really means you are IN something, you are part of a community. Í’m going to be a guardian around the Lanchonete—not letting her being fetishized.
Read the full interview at BOMBLOG