CARE TAMPERE –SEMINAARI - Rough Translation TO ENGLISH

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TAMPERE-CARE SEMINAR

Visual arts residency, and the future of the Pirkanmaa

Notes for lectures and seminar discussion

Riikka Herrala

Irmeli Kokko, curator: residences and the types of content

Irmeli Kokko has served a 90-century since the middle of residences within the different roles that the actor and the practical operation of the initiative was launched. His relationship with residency is practical, even though he currently works in the background and he is also still at HIAP. In addition, Kokko is a Nordic expert group member tukimodulin residencies.

The motion is to tell what the residences have been, what they are and what they might be.

What is a residency?

In total means Boasting range of programs and centers that have been around the world and in which artists working in various sectors of a longer time. Residency includes a working space, housing, and often the scholarship and travel funds. Shapes vary. Tuetuimpia residency is one of the forms of mobility in the world not only of artists, including for example, curators and critics as a form of employment. The concept of residency must also distinguished guest accommodation, guest house is only intended to accommodate. Residences associated with the residential and artistic activities in addition to the contents of which are rooted in art history. Travel and artists have their own role in the history of visual arts.

What are the benefits and how the residency is a residency differs from other art institutions?

Residencies affect the identity is enhanced by the artist and have a strong impact on artistic development. In other words, they play an important role in the so-called artists. Informal further education. relates to residency from outside influences and practical arts productions. In this way, artistic residencies will increase the supply of the region and strengthen their diversity, both in themselves and will bring a variety of views on art and culture. Boasting a fast networking impact of artists and cultural professionals, among the over national borders. Residencies offer opportunities to work abroad in the Finnish artists, or artists' residencies expand employment. Residency is different from other art institutions in such a way that the artists in residence focusing on the development and production support, not the artistic process and the dissemination of the final product, such as galleries and museums. Residency is a typical function of art in primary production, ie the collection of ideas and material handling. Residency can also refer to specific works of art made during the residency. Today, many of the residences also carry performance activities.

Residencies backgrounds

Residency artists to travel is linked to a kind of community spirit and the work on the spot.

(See film 'TRE3 Residenssikäytännöt ")

Residences were an important precursor to the artist colonies. 1870-1910 in Europe was a kind of industrialization of the impact of the movements, which result in thousands of artists moved to the country to establish settlements. The idea was to return to the pure nature of making art environment. The colonies (especially in France but also Germany, Hungary and Scandinavia) contributed to the open-air painting and the development of Impressionism. The artist community has always been, therefore playing a role in the history of art, even if they are not part of institutional art history.

Finns, as examples of Tuusula shore and the arts industry Filippos project, which was supposed to be a colony-like community. Before the First World War, Nationalism, and accelerated the avant-garde movements increased. Avant-garde movements formed a lot of artist communities in different parts of Europe. Artist of the settlements in the background during this period also affected the refugee.

Art schools like the Bauhaus and the U.S. Black Mountain College, like kesäkollektiivit are heavily influenced by the fact that the term residencies at today as a sort of artlaboratory. General business is in rural communities until the 1960s born out of attempts at emancipation due to the living conditions of difficult or awkward situations for creativity. In the background is also inspired by the spirit of utopia. For example, Black Mountain College for 70-80s idea of what kind of residency should be. It established the European art of refugees. Black Mountain in summer schools in different fields of arts elements gathered together and examine the options for various periods of time and developed through various art forms. 40-late Gollegesta ahead, Black Mountain Laboratory ideology became the model for European and American contemporary art residences.

Residence can also be seen as an alternative to academic education (eg Baushaus, Daniel Buren), or as in the additional training. Again, these residences are based on the idea that working together with different periods and, hence, create something new. 70s onwards began PS1 program in the U.S.. Künstlerhaus Bethanien in 1979, continued a European tradition of contemporary artists' houses in mind.

How residency has changed?

Till 80-90s the residencies were a way to escape and find space and place to work and create in peace without pressures created by living conditions, society, or the art market. The purpose was to provide a place of work and peace for the development of artistic activity. With globalization and cross opening in societies, the process changed and the movement grew. Residencies have since become more stations, through which will be in the region. In addition, residency has approached the field of art, other practices. 90s since, the end of residency has been associated with the production of projects. Residencies also institutionalised. In the past, they have been either created by the artists or patrons financed by private houses. Institutions have been assigned to states and other government financial participation in residencies.

Currently, residences are often based on awareness of the presence of artists, while the previously finished work, and contact between residents has not been as clearly visible. Importance of the presence of the artists associated with the change of art practice. 90's in particular, increased positional art practices. They are important to the work related context, a place and time. Since the time-and location-art practice became an important part of contemporary artistic practices, they also changed the residence aktion. Spread traditional residences new residence outside of the organization. Currently Biennial, festivals and new museums are often associated with the residence actions, either in collaboration or as part of the actual operation. (For example, in Switzerland, the Museum of KUB (?) Inside the studio where the artist works.)

Residencies now

(See film "Annex Table 1: Residenssikeskusten the geographical distribution of the arts sector")

Number of residencies has increased in the 90s. Currently there are around 1000 residence organisations around the world, and in addition to a variety of project-related residency roles. Almost half of these are in Europe and second largest in the U.S.. USA has a strong tradition of artist's homes, and many residences are funded by private foundations. (For example, MacDowell center is the late 1800s established the artist home, trust was instituted later. Residetial type is typical of American residencies.) As a new area is emerging as Asia (particularly Malaysia, Japan and China) . Australia colony-home culture and the artist is still alive in rural and urban contemporary art has its own residence in areas such as the former factory. Residency, is the least in Africa (Dakar has just been set up program), and South America, there is some activity.

Residencies can talk about today as one of artistic practice and as a means to organize the activities of contemporary art. Residencies through the area raised to a more general awareness of art in the field. The vast majority of residences are targeted at artists and residency is strongly linked to just visual arts tradition. Visual artists, photographers and cinematographer has traditionally had a major role in seeing new places and documentation. Travel has played an important role in visual arts tradition, for example, motivated by learning and new experiences. Photo of the artist instruments are also often easy to point to another mobile.

(See film 'Tabell 2: Residensverksamhetens utbredning enligt konstområde i de Nordic countries ")

A Nordic comparison, Finland asa residency practising country can be kept active. Unlike Sweden, Finland is a model of the 90's set up a centralized visual residence organisations, IASPIS Stockholm. (As if the combined FRAME and residence program.) Finland has a beginning, focused on supporting small organizations across the country. In Finland, one residencial arts organization is typical of the international standard when the entire center is three artists.

Residences roles in the production of art

www.resartis.org

Irmeli Kokko in a study (University of Jyväskylä, 2008) identified the different types of residences, residency programs and goals by going through Resartis Organization database of approximately 180 of visual arts residency organisations. Resartis is residency organisation international network of nearly 300 members around the world.

HIAPin residences of important motives were the opportunity to invite artists to submit works on the ground, the cooperation between the players and those of long-term works, arising from the interaction point.

Historical residences and the types of policy developments in the history displayed in the current residency models. History shows that the action was actually anything but the final attempt in the output. A good example of the change is based in 1981 Nordic Art Center Palace Finland. Art Center was during its time as an advanced-residency model, where the residency and exhibition activities were to be kept separate. Final results were seen in isolation, therefore, in relation to the purpose of residency. Residence was designed to give the time and industrial peace.

Art Center is currently operating under the name Nordic Institute for Contemporary Art. Change in the context of the exhibition were liquidated and turned into residences production from the residency. The target population is from Finland and has been expanded to cover other than the artists: for example, art, art producers and writers. This organizational change will show residences general change in the world.

All forms of historical residences are therefore still remains: Folk artist's homes, art collectives and artist-led organizations. In addition, residences near the border also serve as rooming houses. Financing is an important channel for the emergence of action. Sensitive to changes in the operation leasing activities if funding is dependent on the hiring. The public, funded by the non-profit residences residencies are generally concentrated in the lifting up of content.

Around a quarter of the study examined residence practiced the arts of production. Some of these artists is ready idea, which he applies for residency and work carried out during the residency. The second model develops the idea of an artist during the residency and work out either in residence or in the future.

Operation of the main types of artists, the work and the organizational linkages, both in terms of publicity activities

(See film 'Figure 4 residency of three basic categories with their respective terms of art-production point of view ")

1. Home Office Software

o For example, the traditional Scandinavian guest studio programs, which offer their own time and space to focus on creative work and artistic development. Residency organisations do not require the final output. The work is not against pre-determined. The artist selection process may have been related to jurys. Artists to organize their contacts and operations are local. Away from the action studio does not necessarily involve any kind of public activity. Results of operations and the rest will appear later.

2. Process-oriented program

o The most common residence type of the 90s. The artist offered time and space to work, and in addition to professional support (such as contacts), and material support, for example. The program usually involves a process from the countries, but the bottom line work in the open. The artist has in relation to local field, and the general public, for example, "open studio". Public element is involved, so that the residence is a visible organization in its own territory.

3. Production-oriented programs

o This way is a growing trend throughout the world. Artist has his own time, space, professional and material support during the residency is in addition to the possibility of producing new work. Submit either a work or residence itself is often one of the partner. (For example, Picture This, England.)

All residences, however, is at the heart of artistic development, an idea, time and space to provide artistic development.

Studio type

Studio, studio, studio ... Studio Practices reflected residency despite the fact that contemporary art is very much outside of work in the studio. The studios are often presented in a romantic light, such as an atelier or factory space, which includes one of the creative process in secrecy. Different interpretations of the studios:

1. Mobile Studio

Captive outdoor work.

2. Ivory tower

Daniel Buren: Function of Studio. Private space, which is intended only for the artist's own experimentation. The secret of the creative process and the studio being a place. Isolation of studio art related to the nature of the object: studio made the objects are transported elsewhere to be seen, therefore, the exhibition system. Residency Program and the studio which operate as separate units and each has a different purpose.

Some artists have expanded their private studio practice. For example, Kurt Schwitters was built in the 1920s as an office and a work in a vast space called the audience's studio and other artists. In this way, he moved to a private studio conceived in part a public place. Buren: Studio symbolic significance, "the artist's distinction between 'working areas, a place of creativity and invention.

3. Place of debate

The artist's studio is also a place of debate: critics, curators and other artists to become a workshop to see works of the art trade. Studio can also be a learning center, such as art and science co-operation between universities seek.

4. Public place

For example, Andy Warhol's "Factory", an event which changed the studio location for the new books and a factory. Public studio space can also be a museum, where visitors can follow to ensure the glass walls of the artist's work.

5. Museoitu studio

The well-known artists from traditional studio will often be a museoitu studio where the artist worked and even died. So it keeps the methods and ways that made the studio famous in the past. For example a residency in the Dürer studio that required use dof his techniques and style.

Final comments:

At present, many young artists appear to think about art collective creation in rural areas to find better working conditions in the city outside. This also relates to the search for artistic forms, which are in some way in relation to environmental and ecological questions. Outside the commercial art market, often being associated with the idea of residencies. Many Finnish contemporary artist residencies abroad are an important channel of new works for contracts.


Hannele Kolsio, producer, Raumars Association

The practical arrangements and multi-sectoral cooperation

(See film 'Raumars ry - Rauma guest artist program)

www.raumars.org

Raumars Association is a Rauma guest artist program. Kolsio Raumars has been working for four years and previously worked in museums and art galleries. Kolsio says, for instance, through Raumars art projects for the producer's point of view.

* Started in 1997 by the National Gallery Lönnström
* Community art from the artist of the first
* Registered association in 1999
* All art, art in general
* Artists of applications
* 4-6 artists per year during the entire 53


The first exhibition was residency artists Lönnström Art Museum, and organized workshops for children and young people in visual arts at school. The artist obliged to carry out the work during the residency. The work is planned in the application process. Lönnström art museum directors have been centrally involved Raumars operation, for example, the association's chair. Fine Arts is the most common fields of art, but also the other can be taken. The problem, for example the case of literature, we have seen the lack of a common language, as the works are intended to be a community. Next summer, however, is becoming the Rauma dialect of American artists in a project to conduct. Is seeking the greatest visual artists. Finally, one architect, one from a dance group and one in the field of theater have been "creators" in residence.

Call takes place in the spring. The program selected five artists per year, which the producer perspective, it is a lot, because two months time to implement the project is only just possible. Applicants must be over 40 every year at a time can receive one of the artists or artist couple. Will be much more interesting applications for residency or is an order. Projects are planned well in advance (six months in advance), and cancellations will generally once a year.

First housing Raumars had a house and studio space in Old Rauma. When the house was sold, changed its residency Lönnström Gallery courtyard house upstairs. Residency in 2006 moved to its current home, which is a deep Rauma ordinary two-room apartment and a kitchen, a downstairs living in a Finnish family. Order is not working. Kolsio regarded as the ideal that the artist could also be provided to work. On the other hand idea of community art is that artists take the rest of the work with partners. An artist has as a means of transport a bicycle. The car is on the producer of goods. So the artist offered to residential and material costs 300 euros.

Funding and Supporters

* The Arts Council: 50%
* Rauma City: 20%
* Satakunta Arts: 5-7%
* Bushel Finnish Youth Foundation: 4%

Not every year:

* Satakunta Cultural Foundation, SKR's Fund: every second or third year 10%
* Teresia and Rafael Lönnström Foundation: 4% compared to 25%
* Sponsors. Who are they?


Raumars an annual budget of the 2000s declined. Sponsor The money is very modest. Sponsored purchase is usually the problem is that visibility is desired by the sponsors can offer sponsors and speak different languages. Sponsors of the insurance premiums that it is difficult in spite of good projects. The most important thing, therefore, are public grants. One problem may be not only the time required to apply for scholarships, including the targeting of aid to various projects (eg for applications). Relation to the support Kolsio regarded as the best possible model in which a backing organization (eg, city) to ensure the basic functioning of the aid. Difficulties are met, the fact that urban public support distributor activities affect the quote offered by the international visibility.

Cooperation / participants

* Schools, kindergartens, community centers, civic, Keramos Association, OKL, Mart, Cancer, Eurajoki Mummon Claus Office, Graphic Artists, Fine Arts School, a theater club, lace-makers, different size of the city called
* Blue Sea Film Festival, Works Association, Old Rauma Construction Repair Center, Turku Arts Academy, TAIK Pori School of Art and Media, Art School of Kankaanpää, Satakunta network of children's culture, Satakunta Environmental education, art museums, Vuojoki Manor, City Culture


Raumars Board of Directors consists of eleven different fields of art and culture sectors. The association has plenty of affiliates from the region. Contacting the local media are good, the best way has been found in direct contact with the media in addition to the usual press releases. Raumars-Ring is accompanied by 88 members. The membership is not.

Many artists want to work on their projects or community or the ordinary people in various fields with the workplace. People of working age, it is difficult to involve and to engage in projects. Some even want to compensation for the artist with the work, or just feel that the artist benefits from them. Fault can also be the artist, for example, schedule planning. Some participants, however, find a hobby, working through the arts. School and day care groups and the teachers are generally enthusiastic about the Raumars projects.

Kolsio is Raumars sixth producer of history and the third a longer time. Point at work producing a wide range of practical challenges, and office work is required in addition to a wide range of skills. Government involvement is only in meetings, perform other work part-time producer. The office is at home.

Alina Kolsio idea to keep semi-public residency domicle a particular audience would be easier to approach and to watch artists work, and the artist should contact those who will come naturally. Rauma, Finland has been a dream of artistic associations, joint art house.

Raumars projects:

Sandra Sitron & Rauma Freinetkoulu 6 Class

Puppet Theater Performances iceberg, volcano and the Sea, 2009. Also co-Kallela Pori School 7 class.

Sandra Sitron and Björn Kalleaan school 6 Category: Over forests and oceans, 2008. Pori library.

Amore & Johnny MRCVE (Messianic Research Center for the Visual Ethics)

Superhero vs. Evil Scientists were shown a short film Blue Sea Film Festival in 2007.

Spat + Loogie, Video Pool, 2008

Kuviolausuntakuoro Häplänperän appellants, euphoria band, private individuals.

Jeanne Hoffman, Collage City, 2008

Lyceum school in Rauma 7B, 7C, and Rauma, drawing high school students a course.

Chosil Kil, housing / Cocoon, 2008

Old Rauma repair work on the construction of three centers in the timber graduate student.

Lönnström Art Museum Exhibition, 2008

Rainer Prohasta & Eva Grumeth: Building Serial architecture / Toy-Kit Architecture, 2008. Rauma Art Museum.

Do Not Touch or Climb - Toy-Kit-Architectures

Opettajankoululutuslaitoksen Built Environment Course. Rainer Prohaska & Eva Grumeth

Mara Maglione & Rauma theater club

SOS-JOB Rauma Urastarttimessuilla February 2009

Sunken Atlantis Gallery, Old Smoke Merikarvia

Concetta Modica & one hundred artists from local residents

Concetta Modica & Rauma, West Mart

Facing the Nordic countries, embroidery, 2009. Machined in the town of Rauma Pitsiviikolla

exhibition space.

Generated works projects have been placed temporarily and permanently.

Hanni Stolker: Pususillan painting, 2000

Michael Brown & Kari Korhonen: Wall-ball, 2004, Monnan football field

Agenor Marti and city dwellers: Selviytymiskartta, 2007 / The Survival Map, Culture and Recreation Center

Sandra Sitron & Rauma, visual arts school art crafts group: Midnight Sky, 2008, Uotila school auditorium

Concetta Modica & Rauma, West Mart: Kohtaaminen Scandinavia, 2009, the parish club room

Armel Barraud: Voikukkanainen / La Femme Pissenlit, 2008, bobbin wire

The exhibition and event locations

* City and museum facilities
* Vuojoki mansion gallery
* Library
* Civic center
* Swimming pools
* Food trade lobby
* Construction work on the pedestrian corridor
* The school yard
* Empty (desert) or an empty house in the commercial property
* Optician Store Window
* Performance Day at the fair


Change

* The economic difficulties in 2005
* New Chair "to cut back on"
* 6 months, unless the producer
* New Program: residenssijaksot 1-5, where

1 January-February, 3 July and 5 November-December "independently take community arts residencies"

* 2007 exit, including housing

Raumars Lönnström Gallery is an association founded on the initiative, which now operates as an independent art museum irtisanouduttua Foundation's activities. Lönnström Art Museum Foundation is no longer willing to support the association's activities. Kolsio not consider that this autonomy as a good, but fragile status, especially economically, and also because the action is largely a closed producer endurance. The idea that artists work residenssijaksosta three of the five-year period without a producer, does not work in practice. Previously, producers had 80% of the working time on the payroll of the association and the National Gallery in addition to the Director on the activities of labor input. Now a producer working hours specified in 500 h / year. Kolsio present, has charged 600 h / year. Work has been done so much more. Accountant is paid.

Final comments:

Raumars is Resartis-member organization, and most of the applications it will be through. Also has its own web site to find information search. Finnish artists applying for one year, also may be taken against them. Residency exchange has once been organized with the Irish. The producer is going through the applications and the potential choices. Government and partners known is involved in the choices. Raumars is not strictly defined lines, but choosing the artists to be treated case by case basis. Most of the visiting artists are not funded in their own country. Artists in residence are normally there for two months. Artists networking with Finnish artists have been free-form, because of the scarcity of resources, organized encounters have been few. Local artists have always been involved in working with strangers. Many of the visitors, for example, teach in the public colleges and arts schools.

Juha Huuskonen, artistic directer, Pixelache: Media Arts residencies

Juha Huuskosen has his own experience of media art in residence with NIFCA media art, residency and PixelACHE tuotantoresidensseihin. Pixelache has done the production NIFCA residences since 2004 with the last couple of years and with HIAPin.

www.pixelache.ac / vihreapilvi

Nuage is a French artist, a duo HeHe (www.hehe.org) environmental artworks, which took place in Helsinki belly of the beast, using the screen for a steam cloud. Höyrypilveen The work was drawn by laser image, the shape and size changed in electricity consumption. The work was exhibited in Helsinki in February 2008 for one week. Artists deal with his works, such as large social and social infrastructure such as pollution and traffic. Their work is to publish a rule to the early development of the concept. Artists have been developing their projects by working long period in residence.

PixelACHE residency selected artists who are ready and willing to open their työprosessiaan. Projects are usually long and the collaboration of different organizations and with people taken. Often they are not yet completed during the residency. Green Cloud Project, started cooperation with Helsinki Energy is continuing. New projects undertaken have been published recently. Project proposals and plans were in the public and feedback.

http://network.pixelache.ac

Pixelache festival is held in Helsinki since 2002. Every year the event has visited elsewhere, and for many years efforts have been made to arrange visits so that the festival would continue also in the new locations. PixelACHE international network operates in eight countries, all of which self-organized event. The network does not have rules, but different actors making their own decisions and they have their own funding. Cooperation is voluntary. The Network is made of works and artists, and workshops. Artists in addition to collaboration is involved in training programs and developer tools. Within the network will be developed further to other ideas and concepts. Residency network between different actors and strengthen the network is a good way to develop the whole operation.

www.unsworn.org

Unsworn Industries Tele Mega Phone Book is always open to the voice channel in the Norwegian Dalen vuonokylässä. Installation was to the village permanently. The village is residency, which has had a visible impact locally. Another example of Four Phones artworks, sound installation, which was originally developed PixelACHE residence in Finland and further developed by the Network and through a number of times at different stages. Unsworn has a long collaboration with PixelACHE.

Final comments:

The event began with a long term and on a budget. The 2002 event, the budget was EUR 200. PixelACHE main donors are the public entities (City of Helsinki, AVEK, Arts Council, KPM, cultural institutes in different countries), is also involved in commercial finance. It took some years before the festival was hired a coordinator. We work on a budget has been the fact that planned projects are confirmed to a piece by piece making sure the financing. Now is a more stable financial footing. Activities include the festival, therefore, in addition to the international network, residency and monthly events in Helsinki. A network of smaller operators have also developed a small event in the model as an alternative to the big festival event.

Paula Toppila, Curator: Curator of residency from the perspective

Toppila calls to note that the residence could also be other than the artists, as curators and other industry players intended. Toppila among other things, taught art history, worked in galleries, curated national and international exhibitions and have written about art. Toppila now works as a project manager Pro Artessa Art Foundation, which is set up in 2007 in Helsinki on a private operating foundation. He works in cooperation with invited foreign artists aim to produce one new temporary public works annually. The operation started this year, and the plan is to continue the miraculous works of similar productions each year in March and April. Toppila worked prior to this work, the exhibition curator metacentric FRAME.

Curator's perspective, residency may be the fact that they co-residence Thurs produce work with the artist or the curator himself Able to work in residence. Residency impact on the nature of how it can be a Fruitful residenssityöskentely. On the other hand there may be more time to download vietosta and batteries, on the other hand the work of a planned work or possibly an entire exhibition. Success of the residency can be difficult to measure directly, since its effect may not appear until after a long time. Thus, such a thing residence, which is not directly aimed at the production, but to develop ideas and undertake training, may prove to be very fruitful. When the curator will work with artists to create new work, he will be working in the middle of a creative process, the direction is not always possible to be absolutely sure. Productive thinking about residency, is also appropriate to consider whether the requirement of the finished work always even realistic. Today is a very structured activity: Selecting an appropriate residency the artist and the artist himself a suitable residency. Creative work can be diverse.

Pirkanmaa Triennial

Triennial curator of the operation was based on a longer-term access to the arts actors in the region and operating environment. In the early 2000s was the first contact Toppila Pirkanmaa region and the real work began in 2007, he found a clear change in the operation. Toppila asked Pirkanmaa kinds of self-declared art triennial of the players in their respective programs. Local area turned into a tradition of exhibitions in Pirkanmaa Triennial of this time. Previously, the exhibition brings together juryttamalla; now, however, was access to a broader area of contemporary art and in the longer term. Juryttamisessa are problems in particular, the fact that one book can give only a very short time. In addition, jurytettavaksi often provides only a two-dimensional works, which excludes a large part of modern art. Juryttaminen also excludes the connection to the artist and it is through new ideas and even the creation of new works specific to that exhibition. A broader approach also supports the Triennial of the case, the fact that three years the region's art is a short time. Triennial curator could be a possible residenssivieras Pirkanmaa, for example, a foreign curator, comes more than once every three years to study the operation.

Pro Arte

Pro Arte (www.proartefoundation.fi) residence is the basic model of process-orientated residence in Finland. Pro Arte is a private foundation, through which the donor wished to donate money to support the visual arts and contemporary internationalization. Its policy is a miracle-productions in a package comprising a miraculous project, a miracle-dates (three-day seminar-event) and Wonder-Edition. The Foundation is a conscious choice to public space, exhibition spaces instead. Permanent office space is only the Foundation's office. IHME project aims at a new place and tied for the production of the work. Each year the selection of the artist's place on the Committee. Activities also take place in taidekasvatuksellisia goals by expanding the audience of contemporary art. Bureau Foundation board will make substantive decisions, such as the artist of choice, and project manager for the production of its implementation.

The first miracle was to project works by the sculptor Antony Gormley, Clay and collective body. The idea was to holding the book, the mass of clay and people kind. Clay was a giant cube of people are drawn 10 days purpose built hall Kaisaniemen ground. Nearly 1400 people took part in the project. It was a community project, which allowed the adoption of a variety of ways. As a rule, only the participants had not been made by the second break. Space consisted of clay-rich landscape. Some 4,000 people came to see the outcome. Feedback from participants and the public was only positive. Gormley has already made a community works with clay, but never a project where the participants are not instructed in any way. There were a lot of artists and artisans, but the project also reached out to people who do not have contact with the arts otherwise. YLE Teema made a documentary about the project. (One & Other project in London.)

Boasting Toppila important starting point, is that a person can be shown to the artist, which allows the implementation of the work. The 2009 miracle in implementing the project involved a large number of the Foundation's employees, contractors and their employees, a total of approximately one hundred people from taking a risky project. Ordering the work to a particular context is also possible to implement on a small scale. Making a good project and requires the know-how and money. And the money is usually not enough hienojenkaan project marketing. Electronic media, however, allow for communication without the high costs.

Pro Arte also the next miracle will be a community project work, but not in the same way as the previous participatory project. Miracle of the 2010 book published in March. Scotch Susan Philipszin to carry out vital work of art in public space in downtown Helsinki. It is a sound installation. Its aim is not kuratoida works in a continuum, but rather to present a diverse contemporary art. Miraculous Days take place on the last weekend of the Old Student House. Miraculous days of workshops and the concept includes the fact that the project produced the book is the discussion.

Selection of artists: Pro Arte Bureau will have discussions about what the Foundation could be of interest to artists. Artist selections are made based on their expertise and long-term discussions with several international artists.

Panel discussion: The future of residency experience and the Pirkanmaa

Panel: Irmeli Kokko, Hannele Kolsio (Raumars Association), Paula Toppila, Laura Uimonen (Voipaalan

Art Center), Elise Pedersen (City of Tampere, cultural organization), Arja Moilanen

(Tampere Artists Association), chaired by Mikko Lipiäinen (Irvine

Culture Association ry)

In addition, comments on, inter alia.: Janne Rahkila (Manufacturing Association), Krister Gråhn (Raja Arts Association), Mikko

Kallio (Arts Council of Pirkanmaa), Olli Räty (Art Nuuttila)

Laura Uimonen, Voipaalan Arts Center

(See film 'residency experiences, Voipaalan Art Center, Valkeakoski, Sääksmäki ")

Voipaalan Valkeakoski Arts Center is a scenic area mansion. Voipaala works Rapola linnavuoren the museum's vicinity, and cooperates. Voipaalan Part of the activities is also a residence. Voipaala held 4-5 exhibitions annually. Art Center is a social actor, who is not the state. In the past activity is featured in children's culture. The use of large farms have the opportunity to further increase its effectiveness. Currently, the premises of the school and the visual arts will also be workshops held.

Sääksmäki is comparable to the Tuusula. Sääksmäki has been a summer artists' community. Wickström, Visa has been meeting around the mountain and artists and this is also linked to Voipaalan background (Ilkka-studio).

Valkeakoski artists have their own wooden house in the center of Valkeakoski. That entity could be a good partner for the development of residences. Sääksmäki Self-partner urban actors. Residenssivaihtoa has previously undertaken in the German Klein Sassen työpajajaksoina month with the support of the State Arts Council. Workshop was born in the territory of Voipaalan some permanent jobs. The region could develop a place for sculpture.

Exhibitions of artists are often constructed lived and worked in the informal Voipaala residence. Typically, these artists have done something to reciprocate, for example, taught visual arts students. Voipaala operates a small number of employees, Uimosen also works there and the secretary of the exhibition is the museum masterpieces, which divided the city with the theater. The direction of the theater is close co-operation in general.

Arts Center is also the informal activity. Facilities are provided for artists for various purposes where the premises are not otherwise in use. Materials and the like has not been possible to provide.

Backlight context of the project was held residency, which included four photographic artists. Valkeakoski, visual artists were involved informally. Another residenssijakso Outi Heiskanen, was born in the exhibition were taken in the context of the Indian guests in a couple of weeks. Cooperation with India also revealed the challenges arising from cultural differences. CARE Voipaala would like to acquire, through planning, collaborating institutions and resources for residency.

Arja Moilanen: Tampere Artists Association

Tampere Artists' Association is about to start residency and resources to this activity are available. Residenssiasunnossa The first was the artist lived in the club as a guest artist this year. Society was founded in 1920 and are members of 260 professional artists. Artists Mältinranta activity center has exhibition halls and the offices and taidelainaamotila. In 2008, the reorganized part of the workshop is a graphics workshop, pottery rooms, a metal workshop and a monument in a studio. Mältinranta new premises for start-up is still ongoing. Residenssitaiteilijoita has already worked in the new premises. Artists' Association is also in use Laundry House and Studio Art Center Takahuhdin.

International action is organized by the Society of Artists was a long time. The first international exhibition was organized in 1948. Grants are awarded to international work, and exchange and joint exhibitions have been organized. Forms of international activities have changed over the years. The 80's was an active partner in Hungary. 90s Mältinranta arranged dates and contacts in the visual arts was the U.S. and Austria. Workshops were a form of cooperation. The 2000s there has been cooperation with the Faroe Islands. Including individual invitations to the exhibition have been made. Society has organized meetings with artists, for example. Duesseldorf place with the exchange of exhibitions, which are triggered by residenssivaihdosta. The club members are actively visited by existing residences around the world.

When Takahuhdin Arts Center was leased for the Artists' Association, concrete expression to their residency. Takahuhdissa include spaces of various sizes and storage space. Exhibitions and the work of a suitable hall was renovated and built housing. Halls are also used by the club's own artists. Takahuhdin apartment is also possible to accommodate other artists working on the premises. In the same building is home to two artists' families.

In terms of future co-financing basis of the design is emphasized. Artists' main sponsor is the city of Tampere. In addition, there are also many other sources of income project. In addition, club is Taidelainaamo and exhibition, which also comes from sales.

Artist Guild has planned a number of different international activities of foreign entity. The first artist exchanges have been carried out in Tartu artist with the club. Takahuhdin Arts Center strives to be an active player in the city and has been co-operating next door, for example services for older people with the house.

Artist Association is involved in the National Art 360 project, which aims to develop business cooperation in the field of visual arts and Managerial specific organizations. These links could take advantage of future collaboration.

Usually, what the Tampere Artists' Association of artists waiting to residences, is making a tangible and real interaction. Is seen as a valuable addition to the fact that the club would have access to a network of artists of action which diversity.

Elise Pedersen: The City of Tampere, cultural organization

The city's culture of service, residency is based on bilateral agreements. Since the functioning of the labor resources are not, so far, have been carried out only by such a model. The exchange of artists such as Düsseldorf, have been held with fertility. Collaboration would be a good target-functioning entity.

What could be a good and effective ways of improving the allocation of resources between actors and strengthen the practical activity?

The same artist's visit could possibly be used more than one location, for example first and then Voipaala Rauma. The artist could carry out such a project in another place and then another of the exhibition. Raumars visited the artists have been disappointed if the exhibition has not been arranged at all. Pispalan contemporary art center and has already visited the same artists as in Rauma. Contacts have been created in this way. Raumars note, therefore, the impact of Pirkanmaa.

Exhibition exchange duties for artists from abroad are welcome. The costs might seek to share more with the city.

HIAPissa experiences shared residence were not always good. Focusing can be undermined by the short residence time will be dissolved. Should think rather that the kind of structure needed, and how resources could be shared, so that someone would visit a good artist or title. Cooperation on different areas of expertise to good use.

Resource sharing between local actors in Tampere Tampere Artists' Association is a point of view is important. Co-operation in other parts of the residenssikeskusten could be used with the entire network of contacts with artists and to find more suitable places for artists to take residence.

What problems have been encountered residency?

Language problems often come to the front, especially when we talk about money.

Tampere City cultural services, residency is based largely on bilateral agreements. Previously, the city has been residenssisopimus Mexico City with a three-year period. The contract was terminated because of communication difficulties.

Artist exchange is a good idea to take into account the fact that the exchange partner would be the most similar player. Artist Exchange is not necessarily a good way of residency unless the industries have the same interests, and thus apply. Exchange only because of the exchange is not valuable. HIAPin residency was elected a Bulgarian painter, a search of the open. It appeared that the voters had understood the artist's work for cultural reasons entirely the wrong way. During the visit, there were other practical problems, for example, owing to the lack of a common language. Generally, such problems should not, however, since several of the artists are used to working in residence.

The Finnish co-actors' expectations and goals should be discussed openly in order to understand other points of view about what is considered a successful residency.

Finns are often suspicious of residency artists from point, which leads to the fact that the expected concrete results. The selection process and discuss the expectations of those reasons are important.

In the discussion of what is expected from the artist, comes from the problems of applying for scholarships. If no concrete results on the ground to, scholarships Authorities may find it difficult to convince.

Modes of action and reflection on the expectations

Cooperative planning need to figure out who wants to commit and to what extent the maintenance of permanent residences. Is some of those who are only interested in some of the contents? Would it be better to think about, after all, invite people who would interest and thereby remove a permanent burden associated with the operation? This was approached sisältölähtöisesti. It is good to also take into account the fact that it is easier to get funding for projects as a permanent activity. It is therefore worthwhile to consider the possibility of projektiresidenssin.

One could think that the joint project, the lead is switched at regular intervals. Continuity could be demonstrated through the operation of social significance, status and dignity of work. What is important is also the principle of reciprocity, which is revealed to the Tampere Chamber of Commerce, organized by the cultural and business collaboration in seminars. Reciprocity may be a question of small things like that the artist put the business cooperation with the game itself.

Art Nuuttila flow rates are starting residenssitoimintaa countryside in a beautiful environment. Previously have been held and the idea of summer exhibitions in the launch of residences has matured for a long time. Is seen as problematic on a remote location. Nuutilanvaara artistic activity, it is good to note that residency is also linked to tourism. Common purpose could be the increase in sight of the Pirkanmaa area of visual arts internationally.

Border Art is hoped to bring about the visible activity. When discussions of CARE cooperative tiimoilta began, the situation was that the various players did not even know each other's international activities. Continuity through to achieve a better visibility. The hope is open to action, from which all could benefit insiders.

Paula Toppilan the Pirkanmaa region as a field of visual arts is a versatile and interesting is a lot of factors. TTVO apparently has a great impact on the region's development. Toppila sees as one of the curators as an alternative to residences, which would be the provision of Pirkanmaa Triennial. If the goal is internationalization, curators active in the network would take advantage of this. Curators networks are usually interested in such opportunities.

The new action can be open-minded and have the opportunity to break the perception of what is residency. The form of action can be made flexible, for example the duration of residency. The best time in the traditional form of breach of residences in many places at least think about a theme-oriented direction.

Project-oriented residency interest, as it provides a networking facility. Contacts in the region will be easy to come back.

Raum has had two artists who came years later again. The 2010 search was to one such artist that should be reviewed in 2011. In this case, the artist undertakes a longer project, and community benefits more when the artist is known.

Profile could also pursue monialaisuudella. Curator scholar-activist-artist - a multidisciplinary model would also allow for more reflection, where the art-writing scientists invited to residency.

Natural co-operation with local artists and visiting artists are seen as important. End in itself should not be considered the fact that all the time could be regarded as foreign. Work will be important to maintain flexibility and risk-taking ability. Should also think about what we can give an artist and having regard to it, how is natural for him to work. Would be important to seek the organization's transparency and exchange of assistance are taken.