AWAY - The Book about Residencies is a publication containing much more than the documentation of the exhibition from 2016.
It is addressing major issues and considerations which were discussed in the Laboratory and is divided into five parts, each containing a theoretical text as well as artistic contributions, statements and diary entries of the participating scholarship holders. While the first chapter is devoted to the historical development of residency programs and the studio program of the Federal Chancellery of Austria, the following section describes the extensive and diverse concept of "AWAY - a project around residencies". The third part focuses on the different destinations and within this the associated mobility of artists. The last two chapters explore the questions of dealing with the particular location and its concrete retrospective effect on the artistic work.
Publication „AWAY – a project around residencies,
Alexandra Grausam (ed.) for the Federal Chancellery of Austria,
Verlag für moderne Kunst, edition: 2.000, German / English, 320 pages,
with theoretical contributions by Susan Hapgood, Miwon Kwon, Jörn Schafaff,
Peter J. Schneemann, Sabine B. Vogel and Daniela Zyman.
The publication is available at the publishing house Verlag für moderne Kunst, here.
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The book was first presented on September 27th, 2018 as part of the Viennese art fair viennacontemporary.
The introduction by Alexandra Grausam, project manager and curator of AWAY, was followed by a talk with various experts on the phenomenon residency and moderated by Lorenz Seidler (eSeL).
Contributors:
Katrin Hornek, artist, Vienna
Holger Jagersberger, Head of Atelierhaus Salzamt, Linz
Christiane Kada, scientific councilor, Regional Government of Styria, Department of Culture – Awards and Scholarships
Olga Okunev, Deputy Head of Department, Federal Chancellery of Austria Section II – Art and Culture, Department II / 1, Fine Arts, Architecture, Design, Fashion, Photo and Media Art
Peter J. Schneemann, art historian and author, University of Bern
Together with the invited guests, essential studio programs were discussed from different perspectives. These are based on a historical concept showing a long tradition, that begins with the European Courts sending away artists and has been experiencing a new boom since the 1990s. Until today, a large number of heterogeneous models and offers have evolved worldwide, all subsumed under the same term. It should also be borne in mind that over the past 30 years or so, not only has the political field and its framework changed radically, but so has the context in which these programs are located.
