More literature on artists-in-residencies and cultural mobility

Report on Building a Strong Framework for Artists' Mobility: Five Key Principles. European Agenda for Culture / Workplan for Culture 2011 - 2014. "The European Commission, in the context of the Work Plan for Culture 2011-2014, Priority C: ‘Skills and Mobility’ 4 , convened an expert group on ‘Information Standards for the Mobility of Artists and Cultural Professionals’, which submitted its final report in December 2011. The present report is the result of the work of the OMC Working Group on Mobility Support Programmes, begun in early 2011, which was also formed under Priority C: ‘Skills and Mobility’ of the Work Plan for Culture 2011-2014. Twenty-five EU MS expressed their interest in participating in and contributing to it."

Policy Handbook on Artists' Residences. European Agenda for Culture / Workplan for Culture 2011 - 2014. "The European Agenda for Culture introduced the Open Method of Coordination (OMC) as a ‘light’ but structured form of cooperation among EU Member States in
the field of culture. The OMC has proved to be an effective tool to address a number of issues related to artists’ mobility. Under the Council Work Plan for Culture 2008-2010, a first OMC group of national experts dealing with artists’ mobility issued in 2010 a report on ‘Improving the Conditions to Support the Mobility of Artists and Culture Professionals’ with recommen dations to the European Commission, the EU Member States and the cultural sector. Taking into account these recommendations, artists’ mobility continued to be a policy priority under the Council Work Plan for Culture 2011-2014. A series of actions and instruments, including the OMC, have been used to tackle mobility-related issues."

Contemporary Artists in Residencies — Reclaming Time and Space (Taru Elfving, Irmeli Kokko, Pascal Gielen (eds.). "[T]he book Contemporary Artist Residencies: Reclaiming Time and Space asks: what is the present role of artist residencies in the contemporary art ecosystem? How do they meet the changing needs of individual artists? How can residencies provide alternative openings and infrastructures to nurture artistic work in the midst of current societal transformations and environmental crisis? In order to address these questions, we have taken practice-based knowledge as the book’s premise, while setting out to listen to the field and the residency practitioners themselves. The book builds on the discussions in the symposium ‘Residencies Reflected’, on conversations with numerous residency organizations and residents, existing research on artist residencies, and our own professional experiences and insights working with and in residencies. We have chosen to focus exclusively on residencies within the field of visual arts, or specifically contemporary art, while recognizing the increasing fluidity of the boundaries between disciplines and the current development of residencies towards more multidisciplinary models. To begin with, our introduction lays the ground with a brief historical framework, based on Irmeli Kokko’s research, followed by an overview of key concerns emerging from the book." [Shared under a Creative Commons Attribution-NonCommercial-NoDerivativeWorks license]

How To Be A Critical Artist-Tourist (Laura Ķeniņš). Observations on art, tourism and the 2013 Nida Interformat Symposium

Re-tooling Residencies. A Clooser Look at the Mobility of Art Professionals. (Anna Ptak ed.). The first part of the book, entitled ‘Practices’, contains contributions dealing with the expanded field of contemporary artistic practice – by Johann Pousette, Hagen Betzwieser and Yeb Wiersma – while Kaja Pawełek considers the field of curatorial work. This section ends with the transcript of a panel discussion hosted by the International Studio and Curatorial Program (ISCP) and MINI/Goethe-Institut Curatorial Residencies Ludlow 38 in New York City. Together, the texts in this section indicate ways in which residencies respond to the blurred boundaries of artistic production. Their observations demonstrate that this field – characterised by the expansion of both cultural institutions and the practices they support – cannot be contained by the representational logic of exhibitions and the related public consumption of art. (...) The texts gathered in ‘Sites’ – the second part of this publication – elaborate on the context in which Eastern European residencies and artistic mobility can be considered. Interestingly, we see that, time and again, the term ‘residency’ recurs in its lexical meaning as an act of dwelling in a place. Viewed from a two-fold localised perspective – as a dwelling in Eastern Europe – the analyses of residencies in this section have recourse to history. Political transition in the countries of Eastern Europe has created a shift away from the dubious situation of artists being sheltered by the state at the expense of their autonomy. (...) The last part of the book – ‘Networks’ – returns to the origins of this publication, the RE-tooling RESIDENCIES project, to focus on the working framework within which networks for supporting residencies and the mobility of art  professional are created. It is the most informal part of the book, reflecting a state of affairs in the making. [Shared under a Creative Commons Attribution-NonCommercial-NoDerivativeWorks license]

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