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  • Embedded Aesthetics: Artist-in-Residencies as Sites of Discursive Struggle and Social Innovation
    AiRs exist in hundreds if not thousands of different configurations all over the world, in over 100 countries in every kind of arts discipline and are hosted and organized by many different kinds of organizations.They offer a wide range of opportunities and impose a diverse range of demands and obligations. Our interest in this paper lies in the operation of the AiR as an assemblage of values, expectations, materials, goals, practices and conventions that create, arrange and conduct desire within an institutional setting.
  • The Social Life of Artist Residencies: working with people and places not your own - part 2
    While some artists migrated to rural locations through retreats and colonies, others thrived in cities enjoying a bohemian life. Following Lind’s ‘collaborative turn’, artists have organised around both instrumentalised public systems and private markets by forming collectives finding new ways to work together, domestically and politically.
  • Art Residencies – In pursuit of origin - part 2
    Muhammad Zeeshan’s work began to get a worldwide attention after the Gasworks, Charles Wallace residency. That has been a path for many for many emerging Pakistani contemporary artists. In tackling themes such as masculinity, dominance and local and international violence, he injects beauty into what could be a stark repertoire of images.
  • Developing urban artist-run residencies (UARRs) in East Jerusalem: a political anthropological perspective
    While the strength of UARRs are that they are devoid of organizational frameworks, that is they are not invited, hosted or developed by any official entity, in areas of conflict, this can pose certain challenges; as a grassroots and independent initiative, a UARR in East Jerusalem can be vulnerable, whereby its intentions can be easily interpreted as potentially inflammatory to opposing sides.
  • Paesemuseo: about locality as a specific platform and an abstract object of investigation
    In 1968 Pinuccio Sciola, sculptor and (becoming) father of Sardinian muralism, started a mobilization process of his community; one year later his village San Sperate was declared to become a museum, anticipating the contemporary discourse on contextual or site-specific art. Noarte Paesemuseo is actually the art (and artists) association in charge of this locality tradition.
  • From “Eremitic” artist residency to “Heterotopia”: shifts in the cultural politics of Villa Romana (1905-2017)
    With its program of talks, symposiums and exhibitions, the artist residency Villa Romana currently promotes a perpetual interaction between cultures and creates cross-cultural links for a mutual understanding through art. In this sense, the house is a unique place in the context of Florence