Group Discussion 5: Was it really worth it? Evaluating artist residencies

moderator: Marianne Burki, Head Visual Arts Department - Pro Helvetia - Zurich

 

When is a residency regarded as successful? Mobility of artists provides no immediately quantifiable statistics. The results and benefits are only measurable on a qualitative and long-term basis. Supporting travel of an artist is a long term and sometimes risky investment of which the results can only be analysed with the perspective of time.

 

Developing a comprehensive evaluation model that can factor in these qualitative factors is a major challenge. Still, evaluation should not be dismissed as a mere funder requirement. Evaluation and follow-up of a residency’s impact can undoubtedly help strengthen and improve future residencies. Most important is the formulation of the aims of the residency, which might vary a lot depending on the organizer and the point of view of the artist.

 

In this session, participants will be encouraged to share ideas and models for evaluation and follow-up of residencies. The session will be chaired by Marianne Burki, Head of the Visual Arts Department at Pro Helvetia Zurich. Pro Helvetia is currently discussing and implementing evaluation on various levels: as a helpful working tool in everyday’s work and as an elaborate instrument for specific projects.

 

Statements for Discussion

Formulating aims and knowing when they are achieved:

1. How can institutional aims meet artist’s expectations? How far can specific aims be a condition of the residency? Is e.g. “intercultural dialogue” of importance in the results? What impact has this on the artist’s selection?
   

2. Is it possible to measure the broader, overall impact on the professional development of artists following a residency?
   

3. Can we expect from artists to meet societal, and political expectations?
   

4. ….and how should requirements be measured: when is a residency successful?
   

Development of residencies:

1. What role can artists who have completed a residency play in the further development of the residency and in the preparation of the artists who follow?
   

2. What models can be developed to share experiences and lessons between funders, artists and host organizations?
   

3. What models of collaborations exist? What is lacking?
   

In order to ensure lively debate and leave room for in-depth discussions, we will be limiting the number of people per group to a maximum of 15 participants. We therefore invite you to send us an email stating what sessions you would like attend by March 17. Places will be available on a first come first serve basis.