Art and Mobility. An Introduction
Herman Bashiron Mendolicchio2013, InterArtive Issue #55
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Abstract
The primary purpose of this special issue on "Art and Mobility" is to reflect on the multiple aspects of cultural and artistic mobility and to open the way towards a transdisciplinary field of study that increasingly claims its place in the analysis and research of the social and cultural dynamics of the contemporary world.
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Global Art And Politics Of Mobility: (Trans)Cultural Shifts in the international contemporary art-system
MIgratory Politics. Technology, Time, Performativity, 2007
This text studies the way in which mobility politics operate within what is known as the international contemporary art system, that is, within the context of the economic, symbolic, and transcultural fabric devised by the new international biennials, the translocal net of galleries, new cultural institutions, museums, specialized foundations and boards of trustees, as well as through the internationalization process of contemporary art that took place over the past few decades. Our goal is to describe, on one hand, the most relevant consequences of the epistemological turn that mobility has taken in the process of production, circulation and reception of contemporary art on a global level and on the other, to criticize the multiculturalist and internationalist discourse of the global exhibition system.
Mobility: Privilege and Problem. Global Asymmetries in Art & Culture
Mobility: Privilege and Problem. Global Asymmetries in Art and Culture, University of Music and Performing Arts mdw, Vienna, 2023
Participation in the symposium (two working groups) organised by Dr Seo-Young Cho, Vasilena Gankovska, MA, Prof. Dr Andrea Glauser, Klara Koštal, MA and Dr Anke Schad-Spindler, 4.5.2023. Participation in the working groups "Visa, Employment, Residence" and "Climate Crisis & Mobility in Art & Culture: Experience, Challenges, & Perspectives"
Creative 'variations on mobility': When arts move research (with Giada Peterle), in Rocchi C, Demonte M, Brigadoi Cologna D, "Memories: Notes and Maps of a Journey to the West", 2023, Padova, Cleup, pp. 57-63.
‘Variations on Mobility’ is the joint edition of Creative Commissions (CC) 2019/2020 hosted by the Centre for Advanced Studies in Mobility & Humanities (MoHu) at the University of Padova and the Royal Holloway Centre for the GeoHumanities (CGH). The CC scheme is based on the idea that research-art collaborations contribute to the co-construction of scientific knowledge through ongoing dialogical exchange. This joint edition called for creative collaborations that were invited to explore the relationship between mobilities and the humanities experimenting with the potential of art and creative methodologies in the study, imagination and expression of mobility issues. This original work by Ciaj Rocchi, Matteo Demonte and Daniele Brigadoi Cologna is one of the unexpected surprises emerging from the ‘Variations on Mobility’ programme. By visualising, charting and telling patterns and spatial itineraries of Chinese migrations, and by skillfully embedding different temporalities and historical layers within the graphic narration, Rocchi and Demonte provide a sensitive and unique portrait of transnational desired and suffered mobilities.
Art and Migration – The Troubled Relations between the Centre and the Periphery, 2008
I shall mainly reflect on the migration from periphery to the centre, more precisely, on how ‘peripheral' artists are represented in the ‘centre'. Even though not all peripheral artists are de facto migrants, such a comparison seems adequate for several reasons. First, Western art institutions, biennales, and fairs doubtlessly still define the centre of the ‘international' art market, which is why artists coming from the periphery of the Western world - such as Eastern Europe, or so-called third countries - are constructed as migrants. They need to travel to the centre in order to make ‘an international' career. However, spatial travel is not the only trait which allows us to draw a parallel between peripheral artists and migrants. Peripheral artists are similar to migrants in a way to play a role of mimicry (Homi Bhabha), they are to be a site of double articulation: belonging to the periphery but acquainted with and playing by the rules of the centre. Furthermore, ‘artist' and ‘migrant, when understood as cultural signs, are believed to share a common structure: both are believed to be translational and transnational.
Art and Migration: on cultural internationalisation in the age of displacement
2020
Can works of art provide an alternative critical way of thinking on migration, besides the discourse in which European democracy has become entangled?
Artist Mobility and the Baltic States: Creating a Transnational Art World
Mobility is an important part of the everyday life and practice of artists. Many artists take part in short-term mobility in order to gain inspiration, form partnerships and contacts, and create networks and/or collaborations. Some of these pathways created through mobilities are well-established while other transnational connections have only recently been formed as artists connect to new, emerging art centres. With each new connection usually linking up yet another city, and with every artist presenting a different set of connections and trajectories, the artistic "transnation" (Yeoh and Willis 2004, 1) is constantly developing.
Motion: Migrations - 35 th World Congress CIHA - Comite International d'Histoire de l'Art
CIHA, 2023
Since the first manifestations of its genre, art historical texts try to understand the artistic processes of creativity as a process of migration; inventions are understood as mobile processes. The development of the figure of an artist or of a style can be seen as a complex process of migrating individuals or concepts. Migration has also been understood through its historical, political and socio-economic aspects. In addition to this, it has been a fundamental aspect of the human experience since the beginning of the Modern Age, i.e., since the times of the circumnavigation of the world, which provoked displacements of large population groups across all the continents. Even before the creation of art history as a scholarly discipline in the 19th century, art and culture have been construed through the exchange of objects, concepts and practices among a variety of territories and societies around the globe, not only between Europe and their colonies and vice versa, but also between Africa and the Arabian Peninsula or India, or Asia and the Americas. European mass emigration to the Americas, that started in the 19th century and continued throughout the 20th century as a forced migration related to the two World Wars and the many other violent conflicts around the globe, reaches an unprecedented level in the 21st century, when humankind faces new challenges brought about by different forms of transit of peoples, ideas and images.
International Artists-in-Residence 1990-2010. Mobility, Technology and Identity in Everyday Art Practices
Considering the exponential growth of artistic residencies between 1990 and 2010 at an international level, artists working in associated mobility programmes have been challenged by unsettled transnational working practices and competition. This, in turn, provides them with the opportunity to develop their creative processes. It is shown that artists’-in-residence openness and willingness to travel internationally is, on the one hand, related to the development of information technology, and on the other, supported by travelling facilities, which have impact on lifelong learning and cultural maintenance. Whereas change of geographical environment is often associated to psychological and physical conditions, artists’ statements reveal the dichotomy and paradox between globalization, collaboration and dispersion versus isolation, individualism and concentration. Possibilities for documenting and circulating artworks through digital communication tools and in-situ supply support and generate knowledge and recognition. All these possibilities, however, are challenged by uncertainty. The acknowledgment of cultural differences and barriers is expressed by artists in the most varied ways, especially through performance art and site-specific installations. As a source of inspiration, cross-cultural environments are negotiated by artists’ hybrid identities, situated at the intersection of Western and Non-Western aesthetic traditions. Artists’ cross-cultural environments are composed of international and intercultural communication issues and practices, where the sense of place, environmental awareness through multisensory experiences and the importance of everyday routines are reflected. Methodologically, this research is two-fold, based on a qualitative content analysis of selected artists-in-residence statements and artworks, and on a conceptual framework developed on social processes, artists’ individual motivations and technology purposes. Keywords: artists-in-residence, mobility programmes, creative processes, cross-cultural environment, hybrid identities, mobility, technology, digital media, cultural hybridity, intercultural communication, sense of place, environmental awareness.
Arts-Based Methods in Migration Research. A Methodological Analysis on Participatory Visual Methods and Their Transformative Potentials and Limits in Studying Human Mobility
International Journal of Qualitative Methods, 2024
In the last decades, the growing use of participatory methodologies and creative methods in migration research has opened innovative ways to collect, analyze, and disseminate data. These approaches encourage experimental, interdisciplinary, and collaborative work through artistic methods to study human mobility and expand the community of inquiry and interpretation, often intervening in contexts of social injustice and exclusion. This article is intended as a reflection on the potentialities and limits of the use of arts-based methods in migration research. The contribution opens with a review of how participatory visual methods have been framed in the field of migration studies. The second part explores an example of a collaborative study that adopted photovoice and sensory mapping to reflect on the concept of "welcoming spaces". Finally, it analyses arts-based methods as a potential space for social change, focusing on three main dimensions: collective learning, relational aesthetics, and knowledge co-construction.
Artists on the Move. Theoretical Perspectives, Empirical Implications
The article critically examines current cultural policies in Europe supporting artists' mobility and discusses the interplay of of high-frequency mobility, market dynamics, artistic practice, labour conditions, and the life-world of individual artists. Der Beitrag nähert sich dem Thema Mobilität von Künstlerinnen und Künstlern aus sozial- und kultur-wissenschaftlicher Sicht. Den Ausgangspunkt bilden zentrale Überlegungen zum verhältnismäßig jungen wissenschaftlichen Feld der Mobility Studies. Hierauf aufbauend erörtert die Autorin die Charakteristika von Künstlermobilität in Europa und die kulturpolitische und institutionelle Perspektive auf dieses Phänomen. Sie zeigt die Schwächen einer auf Verwendungsnachweise und Evaluationen von laufenden Projekten ausgerichtete Datenerhebung auf und verdeutlicht die Notwendigkeit, nicht nur die beruflichen Chancen, die sich durch Mobilität eröffnen, sondern auch die Auswirkungen von zunehmend mobilen Lebens- und Karriereverläufen von Künstlerinnen und Künstlern auf persönlicher Ebene genauer zu untersuchen. Wie dies geschehen kann, zeigt Lipphardt anhand eines Fallbeispiels, in dem sie die positiven und negativen Auswirkungen von Mobilität auf Privatleben und Karriere eines Künstlerpaars über ein Jahr nachzeichnet.
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Magkou, M. (2012). Geographies of artistic mobility for the formation and confirmation of European cultural citizenship.
In Austen, S., Bishop, Z., Deventer, K., Lala, R., Martín Ramos, M-A., The cultural component of citizenship: an inventory of challenges. Brussels: Access to Culture Platform Working Group on Audience Participation/European House of Culture, 2012
JMK 4(2) – December 2019 – Artistic Strategies of Migration: Art as a Resistance or as a Reinsurance? – ed. by Erik Berggren & Elsa Claire Gomis
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Excerpt from master's thesis: Artists in Mobility, Through the Artists' Perspective
2018
The purpose of the thesis is to contemplate the mobile artists’ relationship with the self and surroundings through mobility by means of their artworks and narratives. I discuss the selected artists’ perception of urban reality and transient places, as well as their experience of estrangement in these sites. The artist’s engagement with an urban landscape is examined by analyzing a photographer’s strolling practice – a particular relationship with the flow of the city while alternating between the perspectives of a participant and an incognito observer, which is an opportunity for the artist to play with and reproduce the urban reality in authentic artwork. For some of the selected informants traveling and living in different cultural environments not only influence their artwork but enable them, while being withdrawn from the place-bounded cultural constraints, to recreate and perform their identity through the interaction with diverse cultural landscapes. The artists’ narratives point to the emergence of a community of individuals who feel alienated and detached from particular geographical locations, are carriers of the nomadic consciousness, and do not belong to a normative cultural environment, being open to negotiating their identity through abundant interaction with multiple cultures and places. The nomad’s understanding of home defies the traditional one and is perceived as a spiritual state - an emotional safety and connectedness to own life.
Artists’ mobility in the EU: Between Opportunities and Impediments
Two Homelands, 2017
Mobility, especially labour mobility, is being promoted and highly praised as an economic and political cornerstone of the European Union, essential for its future development and growth. At the same time, people on the move are faced with many impediments to mobility, artists active in transnational art worlds being particularly vulnerable in this respect. Analysing and comparing various written sources (text and hypertext), the author focuses on the international mobility of artists in and to the European Union. The aim of the article is twofold: to outline artists’ mobility as a particular type of mobility, and to highlight the divergences between praising of the mobility concept on the decision-making level and the ‘naturalization’ of mobility in academic discourse on one side and the critical assessment of artists’ mobility and impediments to it by art practitioners and experts on the other.
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Karin Gludovatz, Juliane Noth, Joachim Rees, eds., The Itineraries of Art: Topographies of Artistic Mobility in Europe and Asia, 2015
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While recent scholarship dealt with the economic and political historiographies of road systems, this book focuses on routes as stimuli of cultural transfer and artistic production. Framed in the historiography of longue durée, routes may be addressed as trajectories that cut across cultural geographies and periodizations. With focus on the early modern period, the volume foregrounds an unprecedented expansion and transformation of route-networks. New combinations of transcontinental routes profoundly affected cultural topographies and smbolic paradigms. The rise of Asian and European port cities as nodes of maritime systems and prosperous cultural contact zones is closely linked to these shifts; routes, hubs, and the fabrication of collective imaginations about them therefore constitute the central themes of this book. Contributors: Christian Kravagna, Monica Juneja, Eugene Y. Wang, Elizabeth Kindall, Sophie Annette Kranen, Julia Orell, Juliane Noth, Joachim Rees, Nora Usanov-Geißler, Evelyn Reitz, Ulrike Boskamp
Migration and art: exploring experiential and theoretical connections
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I hereby declare that I am the sole author of this Major Research Paper. This is a true copy of the MRP, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public.
Juliane Noth and Joachim Rees, Introduction, in: The Itineraries of Art: Topographies of Artistic Mobility in Europe and Asia
Karin Gludovatz, Juliane Noth, Joachim Rees, eds., The Itineraries of Art: Topographies of Artistic Mobility in Europe and Asia, pp. 9-32., 2015
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