In focus: domestic residency programmes for artists


For centuries artists have travelled to foreign environs to soak up the atmosphere and influences of new cultures. Picasso moved to Paris in 1904, influenced by the works of Matisse and Fauvism, Dutch painter Van Gogh lived in Brussels before also moving to Paris, and Lord Leighton, President of the Royal Academy, spent his formative years almost entirely on the continent in Germany, France, Belgium and Italy.

This tradition of artistic exchange between countries and cultures is alive and well today. Argentina has, in the past five years started to think beyond the boundaries of its own culture in terms of art, via artist residency and exchange programmes such as Trama, El Basilisco and most recently El Levante in Rosario. Trama is a programme of artistic exchange based in Buenos Aires. Since 2000 the organization has hosted debates, workshops, lectures and public presentations by artists. The main focus is to create a net of interrelationships amongst Argentine artists, while "relating it to the regional and international cultural scene and, at the same time, promoting the formation of different international exchange channels."

Trama has six main regional partners based in different cities around the country. Due to financial constraints, the programme primarily focuses on putting Argentine artists in touch with each other. Although Trama is due to dissolve in 2006, it has, during the last 6 years, built a strong network with Argentina and Latin America. Trama's Coordinator Claudia Fontes states, "at the moment we are delegating to our strongest partners our contacts and relationships, and they are getting advice on how to deal with the scene we have left behind, which is quite complex."

One of these partners is El Levante, which began as a spin off programme from Trama. Run by artists Mauro Machado and Graciela Carnevale, its beginnings were initially more modest as an artist run space in Rosario. The El Levante Gallery has now been running for 3 years, and in 2005 has now started to facilitate international artist residency programmes. The first of these began last April with a 3-month exchange at the Gasworks Gallery in South London by Argentine photographer Eugenia Calvo. In July Calvo's works will return to Rosario and a young British artist will be chosen for a reciprocal exchange. This is the first of many such projects. Mauro says, "In the next few months we have arranged meetings with institutions of both this country and overseas to decide new programmes of interchange".

Like Trama, El Basilisco is a residency programme for artists also operating from a base in Buenos Aires. Although the preliminary idea of such a programme was conceived as early as 1994, it was El Basilisco's participation in a residency programme at the Gasworks Gallery in London in 2000 that blazed the path for activities of exchange between artists. El Basilisco’s official residency programme began in 2004.

El Basilisco is coordinated by Esteban Alvarez and Tamara Stuby, who wanted to invite artists both from the provinces and abroad to share a house and workshop during a period that aims "to form an interchange without applying other people's guidelines to the creative process of each artist. That in addition provides the opportunity for an organic way of integration between the community of El Basilisco and more extensively of Buenos Aires."
There will be two periods of residency in 2005, with up to three artists invited to each one. The first one for the year will take place in June, with one British artist in attendance.

Although the idea of artist residency programmes looks great on paper, the financial challenges of operating such programmes are extremely problematic and complex. As Claudia says, "If you are fundraising for a project to take place in Argentina, you are in a very difficult situation."
One such problem occurred with the case of Fundación Antorchas, a local private funder (which supports El Levante). This foundation is now closing down, and all applications for funding were suspended from 2004 onwards. Claudia states, "This is quite serious, as Fundación Antorchas were covering 80 percent of the demands on culture in my country. They also had a major role in the formation of artists and the uplifting of artistic practices, both in the country and abroad."

Indeed as an institution, it is very difficult to receive internal funding within Argentina, as support mechanisms cater primarily for the individual artist, rather than larger entities. Neither can support be counted on from the international community, as in terms of artistic practice; Argentina is not a priority, mainly due to the fact it is perceived as relatively wealthy, therefore should be able to support itself.

Despite these problems, Trama, El Basilisco and El Levante continue to support new artistic practices and processes within Argentina's arts scene. With the expansion of El Levante into international waters, one hopes that Argentine art will become more readily available to a wider international audience, and in turn, be equally stimulated by external influences.

Katherine Speller
Buenos Aires Herald, May 21, 2005