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Mobility programmes have often generated more real and productive structures than museums.Q. And what are their weaknesses? A. These structures are fairly new; some, like Gasworks in London and artpace in San Antonio, have been working since the 90s and are the veterans, so there’s still a lot of work to be done. Plus, they’re very living structures, not established ones like art centres, and their role is constantly being redefined. A lot started out with very simple mobility programmes, inviting artists to create and work in a network, build bridges, so that there’s a relationship between them.Q. Are our artists less mobile than other European artists?A. Young artists move around a lot. If we talk about artists of a couple of generations ago they might not have had so many opportunities, but those currently aged between 20 and 30 are mobile and indeed this is one of the possibilities they have, a residency is a means of subsisting while working on a project. Of course there are many kinds of residencies. In some thecurators select the proposals, in others the artist has all expenses covered for, say, three months and develops an exhibition project, such as Rosa Barba at San Antonio. They’re not all like that, there are programmes of grants such as the Fundación Botín’s, which helps artists go and do a residency, and learn abroad.Visual arts114Results ’14