//// RESIDENCY
____Report from a research trip in Oslo
Written by Marianna Garin ©.
I was invited to visit Oslo as the first participator in the newly established curatorial residency programme.
The Nordic residency programme is a very important initiative that enables participants to create a strong Nordic network, which hopefully will extend over time. In Sweden the independent curator often doesn't get the financial possibility to travel and do research trips internationally, although the newly formed mobility grant by Nordic Culture Point specified for the Nordic-Baltic countries is a great progress. A freelance curator in Sweden, can not apply for working-grants, as in other Nordic/ European countries, and as non Swedish citizens can from the Arts Council and IASPIS—International Artist Studio in Sweden. Therefore the residency programme helps making the curatorial practice and working conditions within the Nordic context visible. This new residency, initiated by a group of smaller institutions and galleries (some of them run by artists), makes it possible to create open and dynamic structures, something which is much more cumbersome within larger institutions. The residency not only provides the participant with new contacts (in addition, perhaps, contacts that are less "main-stream", less commercialised and not only of the establishment), it also deploys important future collaborations and thereby new possibilities to create work between the countries, and crucial production of knowledge.
I did a research project including several video artists, since I will create a video-screening programme in Buenos Aires, where I am based presently. While in Oslo I spent much time studying the generous archives at UKS—Unge Kunstnerers Samfund, KiK—Norwegian Art Information Center and OCA—The Office for Contemporary Art Norway. In OCA I had a meeting with Erikka Fyrand, who showed me the archives and talked about OCA's structures and grant system. I also visited Projektrum 0047, and had a meeting with the director Marianne Zamecznik about their programme, their collaborations, their board structure, and the Norwegian support system for smaller and independent art institutions. In addition to that I met with Elisabeth Byre, a freelance curator that works for Projektrum 0047.
During my stay, I had the opportunity to visit the Art Academy's "Open studios" (and the students there), and then take part in the seminar The Role of the Curator—Master or Servant? within that context.
I made meetings and had contact with various independent and artist run spaces, in order to map the new tendencies and the need to create spaces that work as counterweights to the commercial and the institutional art scenes. Among those which I should mention Galleri Rekord; the artist and directors Ingvild Langgård, Eirin Støen and Thora Dolven Balke; Bastard, which is run by artist Anders Smedbye; Torpedo Bokhandel and its directors Elin Maria Olaussen and Karen Christine Tandberg; the first independent bookstore in Norway specialising in publications and magazines—Whitetube on the Tøyen subway station, run by the collective The Gunladies; Hanne Kramer, Atopia, an artist initiative dedicated to experimental film and video art in Norway; the founder, Farhard Kalantary, of Sound of mu, Podium; Snorre Hvamen, Ny Musikk. It seems to me that there at the moment is a lively contemporary visual art scene in Oslo due to a need for non conventional art spaces and/or as counterweight to the institutional and commercial establishment, and thanks to the important support from the state apparatus funding system, as well as from the city, from Billedkunstnernes Vederlagsfond which is a fund for visual artist for the artist to produced works, from BkH bildekunst grants for students, as well as from the Art councils, OCA, Statens kunstnars stipendier, and the NBK.
I also had time to visit the established institutions, museums and commercial galleries. The director Helga-Marie Nordby, UKS, helped me with contacts to several artists, which also OCA did. I made studio visits to some 35-40 artists, ranging from emerging young artists, new graduated, and current art academy students. In addition to this I visited two studio collectives, one in Rodeløkka at Gøteborg, and the other in Fossveien 19 (Günerløkka). I will also write a text for a new publication that will be a result of the collaboration between the institutions that are running the Nordic residency programme.The residency to me was a new way to get a profound knowledge of the younger art scene, and not only the more renowned artists that I already know from international biennales and shows. I believe that there is a lack of strong collaboration between our countries, and that more exhibitions, talks, workshops, publications, projects, and transnational platforms for discussion would be a way to strengthen the standing of the Nordic culture production on the international art scene since it would not only create more work possibilities, but also open up for a stronger art market. The knowledge I got is also valuable, since I take it with me to new contexts and to colleagues that I will collaborate with, now as a promoter of the Norwegian art scene. The residency programme for curators is also a starting point to discuss and to re-evaluate curatorial practice as a profession to be recognized, as well as to discuss which curatorial practices have been developed and are relevant to follow in contemporary discussions within the field—i.e. what the role of the curator is today and why the curator is important. In Stockholm there are three curatorial programmes and courses (the only ones in the Scandinavia), and still there is no structure of work. In conclusion I think that it is crucial to discuss the Swedish and Nordic working conditions, and this residency provides a platform to discuss and focus on issues that are vital to be able to work within this profession.
I hope that this curatorial residency collaboration will get further support to establish itself for a longer period, in order to create strong links and a vivid and dynamic contemporary art and visual culture field.
