After years spent carefully studying and researching a prized blue-chip collection of postwar art acquired from a private collector, the Solomon R. Guggenheim Museum is getting ready to share its findings with the rest of the world.
The museum has embarked on the third and final phase of a years-long collaboration with the Andrew W. Mellon Foundation that the New York Times has described as “one of the most ambitious conservation projects ever to address the deep uncertainties raised by Minimalism and Conceptualism.” The endeavor marks the first time the field has sought to reach consensus on how to display and preserve artwork that might otherwise exist only as a diagram or an idea.
Now, the Mellon Foundation is awarding the project a hefty grant of $750,000 (following the first two phases, which were funded by awards of $1.25 million and $1.23 million, respectively). The so-called Panza Collection Initiative has been quietly chugging along since 2010 and centers on the study of the most perplexing, fragile, and intellectually confounding works the museum purchased in the early ’90s from controversial Italian collector Count Giuseppe Panza di Biumo. (At the time, the Guggenheim made headlines for selling off works by Modigliani and Kandinsky to fund the purchase.)
As part of the initiative’s third phase, the museum will publish an archive of all its research and interviews online and convene a symposium next spring in partnership with the Los Angeles-based Getty Conservation Institute. The Guggenheim also plans to publish a book of its research and conservation findings in 2020.
The overall project “was devised as a direct collaboration between the field of conservation and the field of art history and with a curatorial perspective,” conservator Francesca Esmay told artnet News. In addition to interviews with artists, the endeavor involved in-depth archival research, conversations with studio assistants and fabricators, and an ongoing exchange with an international advisory committee of conservators and historians.
Although the Panza Collection includes 350 works in all, the museum has narrowed its focus to the work of seven artists: Dan Flavin, Robert Irwin, Donald Judd, Robert Morris, Bruce Nauman, Lawrence Weiner, and Doug Wheeler. (That left researchers with around 140 works to consider in-depth.) Although Flavin and Judd are no longer alive, the project offered most of the artists a rare opportunity to communicate for posterity how they want their art to be presented and preserved.
Esmay told artnet News that the Panza Collection Initiative team has more than 100 hours’ worth of artist interviews and dozens of hours of recorded video, as well as transcribed deliberation proceedings of the international advisory group. “There are also myriad archival documents such as artist correspondence, sales agreements, installation instructions, and records from art fabricators,” she said.
One of the most complicated conundrums the museum has faced is determining the fate of works by Donald Judd that the artist himself disavowed. In a famous, angry essay titled Una Stanza Per Panza, he argued that the collector Panza had created the boxes from plans without the artist’s approval and with sub-par materials.
“Ultimately, what transpired between Judd and Panza led the museum to declare several works unviable and they were reclassified as ‘Decommissioned,’ a new collection category that was established to address the complexities and historical significance of the works in question,” Esmay explained. “This new category is a way for the institution to responsibly retain the historic identity and scholarly value of the ‘work’ while safeguarding the ‘object’ from future misinterpretation or display.”
While it’s possible that representative “decommissioned” works could be shown to the public in the future, the circumstances for such a display “would be didactic and only for research and education,” Esmay said. The conservation team plans to present examples of these objects —by Judd and other artists—to symposium attendees in the spring of 2019, offering the opportunity for close analysis.
Esmay said the team is looking forward to sharing with the public the “very rich narratives around the complex and fascinating histories of the life of the artworks, from their inception and period of time under Panza’s ownership and of course their ensuing life at the Guggenheim where they have been preserved and displayed.” She added: “The project is quite special.”
Ilya Kabakov, husband of Emilia Kabakov and one half of their artistic duo, is turning 85 this year. To celebrate, the Garage Museum of Contemporary Art in Moscow is debuting a new documentary about the couple titled Poor Folk. Kabakovs on September 6.
The film’s release also coincides with the 10th anniversary of Garage, which Roman Abramovich and Dasha Zhukova opened in 2008 with a sprawling retrospective of the Kabakovs, who are often credited as pioneers of contemporary installation art.
Garage Screen Summer Cinema in the Arts Square. Photo by Ivan Simonov, courtesy Garage Museum of Contemporary Art.
Filmmaker Anton Zhelnov documented the Kabakovs’ lives for two years in both New York and St. Petersburg. He took its title from a Fyodor Dostoevsky novel, underscoring the Kabakovs’ artistic reflections on life in the former Soviet Union. In the film, Emilia and Ilya talk about the repressive regime, the underground Soviet art scene, and their eventual immigration to the US. (The couple currently lives in Long Island, New York.)
See an exclusive trailer for the film below.
Poor Folk. Kabakovs will be released September 6 as part of the Garage Screen series at the Garage Museum of Contemporary Art in Moscow.
For artists looking to bolster their CVs and networks, residencies can be the perfect setup, providing studio spaces, stimulating contexts, and contact with like-minded peers and curators and dealers that could strengthen their networks and advance their careers.
But as artist residencies proliferate, the quality of the experiences and the conditions they offer vary, making it difficult to discriminate where the true gems lie.
In search of the best opportunities that can be found in the European continent, artnet News has reached out to get the opinion of seasoned experts. These include Turner Prize-winning artist Laure Prouvost; Berlin’s KW curator Anna Gritz; DRAF London director and chief curator Vincent Honoré; artist Salomé Lamas; independent curator João Laia; and Institute of Things to Come curator Valerio del Baglivo.
Villa Lena. Photo Coke Bartrina, courtesy Villa Lena Foundation.
The Villa Lena Foundation residency runs from April to October each year in the heart of the wild Tuscan countryside. The program offers one- or two-month stays with onsite accommodation in its 19th-century villa, and studio spaces up to 120 square meters. Residents are not paid a stipend, but the stunning location and the company of top artists (Sam Falls and Nina Beier are among this year’s residents) are what make Villa Lena so desirable.
Offering residencies that range from 3 to 12 months, Schloss Solitude is a dream gig, sited in a Rococo-style palace on the outskirts of Stuttgart that was constructed in 1764-69 as a hunting retreat for Duke Charles Eugene. Fellowships for residents include a live-work space, monthly stipend of €1,150, and travel expenses. The Akademie also offers a number of other perks, including transport of materials to and from Stuttgart; medical insurance for foreigners; and subsidies to buy materials and promote projects.
Camargo Foundation. Image courtesy @camargofoundation via Facebook.
The Camargo Foundation’s Core Program offers its residents $250 per week (€210) and houses them in a stunning location in the south of France, overlooking the Port de Cassis. Running eight-week residencies in the fall, with longer stays available in the spring (six, eight, or eleven weeks), food and travel are covered and children or partners can accompany the artist, thinker, or scholar who is chosen among the 18 yearly fellows.
The Spanish institution, located in the beautiful coastal town of San Sebastian in Basque country, offers a number of interesting residencies for artists and curators. The residencies that focus on artistic research projects will appeal to those seeking to allocate time, space, and funds to develop and formalize ideas. Lasting one to three months, the residency includes a monthly stipend of €1,000, medical insurance for foreigners, travel expenses, accommodation and studio space, a €4,000 research grant, and a production budget of up to €25,000.
Künstlerhaus Schloss Balmoral, courtesy @KuenstlerhausSchlossBalmoral via Facebook.
Residents of Schloss Balmoral get to live in a three-story Italian Renaissance villa situated in the historical spa town of Bad Ems. Two three-month and four nine-month residential fellowships are offered to international visual artists, as well as one nine-month fellowship for a German- and English-speaking curator. The lucky fellows receive accommodation and a €1,400 monthly stipend. What’s unique about this residency is that the fellowships are offered in just one artistic genre or theme each year.
This prestigious program in Switzerland is nomination-only, and gifted young artists have to pass the approval of seven different panels before being matched with top artists (Joan Jonas is among this year’s mentors) for a year-long one-to-one mentoring relationship. Each protégé receives a grant of CHF 25,000 (€22,000), as well as travel and major expenses. An additional CHF 25,000 (€22,000) is also available to each protégé to create a new work after the year is over.
The Bellagio Arts & Literary Arts residency is for established composers, writers, playwrights, poets, video/filmmakers, dancers, musicians, and visual artists. They now hold an annual open call for proposals (the next one opens in October) that align with the Rockefeller Foundation’s philanthropic focuses. Up to 120 residents are housed on a 50-acre property on the shores of Lake Como, for stays up to a month.
The Palais de Tokyo in Paris. Photo: Florent Michel / 11h45.
This residency, created by Ange Leccia, hosts young international artists sponsored by a Palais de Tokyo curator for an eight-month period from November to June. With a focus on the emerging contemporary art scene, the prestigious residency offers a monthly grant of €1,000, a studio at the Cité Internationale des Arts in Paris, access to Palais de Tokyo workspaces, and payment of all program-related expenses including research, travel, and production costs.
One of the most renowned international programs in the world, DAAD offers 20 residencies in visual arts, literature, music, and film. A jury nominates visual artists for invitation, and artists in other fields can apply for consideration. With stays lasting around a year (six months for filmmakers), travel expenses and health care are covered, and monthly grant installments are offered for living expenses and rent. Plus, artists are offered a free course in German.
Iaspis Open House 190916: Natsai Audrey Chieza, artist in residence, Stockholm. Photo Jean-Baptiste Béranger, courtesy Iaspis via Facebook.
The International Artists Studio Program in Stockholm is an exchange program financed by the Swedish government. Residents can work at one of the 12 studios in Sweden, or, for artists based in the country, a number of studios abroad. The studios are advertised once a year and the residencies run for six months (April to September, and October to March). Applicants can apply for one- to five-year working grants that range from 100,000-133,000 SEK (€10,500-14,000).
The Best for Emerging Artists Looking to Up Their Game
These are probably the ones with the least appealing economic conditions (at best, expenses and accommodation are covered)—but nobody said that being a cool emerging artist was easy, or lucrative.
This Berlin residency is a veritable rite of passage for emerging artists. Many, in fact, stay on in the city after their year at Bethanien. Costs are covered by international bursaries, which include a monthly grant towards living costs for the duration of the artists’ stay (the specific quantity depends on the funder and length of stay). The grant also covers studio rental, a lump sum for materials, and the presentation of a final project in the Künstlerhaus Bethanien galleries.
The south London institution programs up to 16 residencies each year, inviting international emerging artists to live and work in London for three months. Residents are selected through open calls, and receive 24-hour access to a studio at Gasworks; a single room within Gasworks Residencies House; basic living expenses and transport in London; and travel expenses.
This ultra-modern art center in Lithuania has become a pilgrimage site for artists, curators, and writers since it launched in 2013, despite their residencies not being particularly well endowed. Residencies there actually cost money: €450 a month for studio rent, utilities, administrative support, and two studio visits. (You could get lucky, though: half of the residencies actually are free thanks to the support of Lithuanian Council for Culture and other grants.)
Turin is becoming a hub for emerging artists in Italy, and this residency, which lasts six to eight weeks, is the perfect introduction to life in the cradle of Arte Povera. Residents get a fellowship of €5,500 for the whole stay, which covers a daily allowance, accommodation, studio rent at Cripta747, and production costs.
The art scene in the port city in the south of France is decidedly thriving: a growing artistic community, sun, beaches, and its very own boutique art fair, Art-O-Rama, are but a few of the perks for young artists looking for a stint there. The three-month residencies offer artists a room in an apartment in the city center, a studio, a production grant of €1,000, technical support, assistance in the search of materials, techniques, partnerships, and studio visits for professionals.
Wiels Contemporary Art Center in Brussels. Photo Marc Wathieu, courtesy Wikimedia Commons.
Brussels is becoming one of the hottest artist destinations in Europe, and it’s easy to see why: the city boasts cheap rents, a convivial artist community, and a bustling art scene made of exciting institutions, galleries, nonprofits, and art fairs. WIELS is one of the most interesting institutions in town, and its year-long residency is proving a hotbed for emerging art. WIELS offers its residents an individual work-space (of 45 square meters) and a context designed to foster exchange with the artistic and cultural life of Brussels.
The Holy Grail of Young Artists: The Netherlands
Few countries match the Netherlands when it comes to funding for the visual arts. In fact, some of the most generous and most prestigious residency programs are based there, making them worthy of their own dedicated section all by themselves.
Artists in conversation at the Rijksakademie studios. Courtesy Rijksakademie.
The Rijksakademie offers residencies to around 50 artists, with a duration of one year, with the possibility of a year extension. Residents benefit from a studio, a work budget of €1,500, and a stipend of €12,200, plus infrastructure for research and production.
This post-academic institute offers 35 to 40 residencies per year, lasting between six and twelve months. Residents receive a monthly stipend of €900, from which rent and living costs are deducted (rooms cost about €350-500 a month). The enrollment fee at the Van Eyck amounts to €2,750 annually. Each participant gets a studio, an individual production budget of €2,000 per year, and advice from experienced artists, designers, curators, and art critics, who make regular studio visits.
The Diogene tram. Photo courtesy www.progettodiogene.eu
This residency offers approximately two-month stays in Turin where the artists live and work inside an actual tram. Residents are provided with a research grant of €6,000, mentoring from the artists of the Diogene group (“an artistic self-identity group of people working together to create a place for reflecting and exchanging ideas concerning the issues and means of contemporary art practice”), and the opportunity to work with students at local schools.
There’s little information on the process of this itinerant residency except that a resident artist hosts another and, in an intense two-day experience, they walk together, usually from one city to another, sharing ideas. The list of recent Caribic residents is impressive, including Amalia Ulman, Jeremy Shaw, and Paul Simon Richards.
The Masters’ Houses in Dessau. Image courtesy Bauhaus Dessau.
In 2016, the UNESCO World Heritage Site was revived by the Bauhaus Dessau Foundation for their three-month residencies at the iconic Masters’ Houses. These three semi-detached houses were popular with artist collectives in the 1920s, and have hosted the likes of Walter Gropius and Wassily Kandinsky. Residents are offered a living and work space in the Muche/Schlemmer House, a monthly allowance of €1,200, and final presentations of their work in the Gropius House.
SKLAD residents can support the regional artistic scene of Abkhasia, a little-known and only partially recognized state to the northwest of Georgia. The program is designed around a year-long theme and up to six residents can stay for at least two weeks in the Black Sea coastal city of Sokhumi. It offers accommodation, modest individual budgets for materials, and a 150 square-meter studio/exhibition space, in which residents are expected to present work at the end of their stay.
COLLIDE International Artist 2016, Yunchul Kim. Image courtesy Arts at CERN via Facebook.
This unique residency seeks to develop expert knowledge in the arts through a connection with a fundamental science. The program offers a fully-funded residency with two months spent at the European Organization for Nuclear Research (CERN) in Geneva, and one month at the Foundation for Art and Creative Technology (FACT) in Liverpool, as well as a prize of CHF 15,000 (€13,000).