I have recently participated in numerous conversations in regards to artist residencies and from artists’ opinion of the same; I never really know how to feel about artist perception of them.
Artist residencies are programs created to avail
opportunities and support structures for an artist to stay and work away from
their regular studio. They have been going on ‘forever’ and sometimes are very institutionally structured or can
take an organic and very personal form. The common misconception locally is
that artist residencies must involve
international travel.
Historically, artist-in-residence programs trace their roots
in Europe with earlier documented ones in Germany and France.
(Circa 1860s) Edouard Manet and Claude Monet after rejection
from the Academie des Beaux-Arts
that held its annual exhibition at the Paris Salon started the Cooperative and Anonymous Association of
Painters Sculptors and Engravers to exhibit their works independently. They
at some point worked from Manet’s studio with his upper class status
guaranteeing financial stability and access to a guaranteed space as Paris was
being renovated by Baron Georges-Eugene Haussman. It became a regular occurrence
in early 20th century with European artists travelling to America to
imbibe culture and vice versa. Others travelled to gain specific skills and
follow art movements while others just did pilgrimages.
Such informal and organic movements of visiting people/institutions
and working together set the stage for the more structured residencies we know
today. Most programs share the same ideals but none in same to the other. Most
encourage artists to develop their creative skills – while some emphasize on
skill development, others facilitate the exchange of ideas, knowledge and
skills. As an artist, taking time out from your studio enables you to stand
back and look at your work objectively. It also allows you to get away from
your everyday hustle and work from an environment totally detached from your
daily practice. This may be a time to study, look at other peoples work, develop
an idea, explore a concept or just contextualize your practice. Residencies can
also be flexible peer to peer arrangements. I recall John Kamicha and myself taking over Peter Klashorst’s house in Nairobi a couple of years back and am
yet to take up an offer of a print hangout with a friend at his garage.
Getting in to residencies varies. While some are basic
invitation only, some require a detailed application process with work samples,
artist statements and a detailed statement of intent. Before the turn of the millennium,
this was complicated as an application had to be a hard copy involving numerous
slides and handwritten applications and the post office/courier services but
this has changed as most programs take electronic applications. This process
can be quite intimidating depending on your personality and could be the reason
most local practitioners give residencies a wide berth.
With most Kenyan artists’ background of being ‘self taught’ or from art schools mainly
teaching traditional art making
techniques, there are a lot of practicing professional
artists who are unable to articulate themselves. Most can’t navigate from a
curriculum vitae/resume to an artist statement to a bio or even a statement of
intent. With these being mandatory documents for any application, most will
give up instead of seeking help. Add to this the fact that these are artists
whose practice is probably over a decade and are already making regular sales
and you get stubborn individuals who won’t even try! In this part of the world,
whoever makes more money is Emperor. And who are you to talk about their new
clothes?!
It’s these elements that create such uncomfortable situations.
Artists tend to feel that their practice is under unnecessary scrutiny, of which they are not equipped well to
handle. It’s even worse when the person receiving/reviewing the documents is
younger/newer in the arts.
There are numerous courses/workshops labeled mentoring and
artists like Maggie Otieno, Gakunju Kaigwa and Peterson Kamwathi among others are on the forefront on this. It is
good to see younger artists interested in gaining this knowledge and
participating but it should be pushed more. Methinks this is a stepping stone
to understanding your requirements as an all rounded artist willing to claim
their stake on the global podium. An artist who understands the theory part of
their practice. An artists confident enough to ask questions and have a
conversation about their practice. An artist confident enough to build a
portfolio and make an application – whether a workshop, residency or just an
exhibition. An artist ready to write their narrative.
I think that the fact that someone sees the need to find and
puts together some money for an artist’s professional development is reason
enough to be interested in a residency program. Whether the objective,
philosophy or fine print agrees with yours should be the point of contention.
But it is unfortunate when we use our knowledge handicap or lack of confidence
as our defense mechanism to pretend that we’re not at all interested!
