Artist Residency in Russia: Role Disposition in the (Re)Assembly of the Contemporary Art Field
Keywords:
artist residency, site specificity, locality, participatory art, artistic researchAbstract
This study analyses artist residencies in Russia as institutions that assemble the artists, local context, and stakeholders. The main focus is on three key aspects: strategies for institutional positioning in the field of art and in relation to stakeholders, residents’ practices in working with the local context, and the interaction between residencies and local residents. The process of institutionalising artist residencies unfolds through several mechanisms: integration into the ‘creative economy,’ balancing between autonomy and stakeholder interests, and the differentiation of the residencies themselves. Inclusion in the field of contemporary art plays an important role. Artist residencies reproduce its key trends: a shift towards participatory practices, an emphasis on the process of creating a work and its narrativisation, and a research-based approach to art. Participatory practices allow for more horizontal interaction between the author and the audience, and involving the audience in the creation of the work strengthens their connection with the final object. However, the success of this practice may be undermined by the difficulties associated with the institution’s dominance in organizing interactions with the audience, including with regard to the relevance and justification of incorporating participation into art practice. The more reflexive character of practice in art, manifesting itself in the spread of the 'artistic research' model, makes it possible to level this problem out to a certain degree, attenuating hierarchy through an understanding of the author's role as a mediator, including in participatory practices. The study revealed that employees and residents of artist residencies consider it important to involve the local community in their activities, but in practice, face limited opportunities for such cooperation. The limitations of such interactions stem from both the residents’ level of practice and the artist residency as an institution. The multi-stage character of practices involves a chain of translations, phased in research, conceptualization, and materialisation, necessitating the inclusion of an intermediary who (or which) would carry out the reverse translation from the object to the locality. In seeking to strengthen its position in the art field, the institution unintentionally reproduces the boundaries between art and audience.Downloads
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