Historical Context of Art Residency Programs
Historically, there are records and evidence of artists receiving patronages from kings and courts who commissioned and provided residential spaces to create art. Through this, patronage contributes more towards building an image of the court and depicts the ruler’s power and wealth. As we try to look at the concept of modern-day art residency in Asia, it takes us to Tokyo, Japan in 1964 when Uchida Yoko Co., Ltd. invited artists to live and work in Tokyo. From there, there has been a substantial development in the visual art industry. More residencies spaces have come up with exciting and elaborated modules. Not confining the spaces to just temporary studios where artists are left only to produce artwork but rather is focused on creating a safe space for creative minds to initiate discussions and work to contribute towards an ecosystem that can nurture artistic dialogue and discourse.
Dotwalk Ajitara Art Residency
Envisioning the importance, need and future of residency programmes in India, Gallery Dotwalk, a contemporary art gallery based out of Delhi has introduced its flagship initiative; Dotwalk Ajitara Art Residency. The residency is located on the outskirts of Delhi and offers a suitable environment for art practitioners to focus on their practice. Away from urban chaos, the residency provides studio space, living and recreation space with a fully equipped kitchen along with an instrumental environment that helps the residents to cater to their artistic instinct and work towards their professional endeavours.
Objectives and Academic Programmes
The residency is a platform for young artists to develop their practice and indulge in a discourse that will foster their academic growth. In the next three years, DAAR aims to conduct 15 academic programmes that will shed light on modern art practices, theory and discourse. The programmes will consist of workshops, lectures, panel discussions and interactive sessions with seasoned artists, curators and writers.
Challenges in the Indian Art Infrastructure
“Only some active facilities in South Asia, especially in India, support artistic practice once the visual art students graduate. In contrast to the vibrant art exhibition domain, facilitated by galleries, museums, Akademies, biennials, and festivals, there needs to be more art infrastructure that supports continuous practice. It is a daunting task in a vast country like ours, with minimal public and private support for studio-based practices. We have a history of art practices supported by various residencies and studios like Kanoria, Kasauli Art Centre, Kerala Kalapeedam, Cholamandalam, etc. Since the contemporary art boom, those spaces run by the state support, individual patronage, and artist collectives have dwindled”, says Premjish Achari, the Curatorial and Research Consultant, at Dotwalk Ajitara Art Residency.
Innovative Approach of DAAR
He further adds, “Dotwalk Ajitara Art Residency is beginning its first year in this infrastructural lack, and we are attempting to build a sustainable art ecosystem. Apart from providing studio-based infrastructure for painting and drawing and developing residential spaces, recreation, and reading rooms, we are committed to creating a curatorial framework each year. Providing a curatorial framework will be a unique approach, as each residency during the one-year duration will lead to an annual exhibition. This approach will also improve the quality of work created in each module, unlike other residencies usually treated as camps”.
Structure of Residency Programmes
DAAR offers two-month curated residency programmes which not only contributes to the artists’ vision and provide them with studio spaces to work rather with focus on creating an environment that builds artist networks and creates a discourse among the fraternity.
Residency Calendar and Activities
Within a year, DAAR is focused on hosting three residencies; Summer, Autumn and Winter – and unlike the popular residency modules; this is culminated into an annual exhibition curated by Premjish Achari.
First Batch of Residents
On 15th May 2024, the residency hosted the first batch of residents who shall be partaking in the modules curated for the residency. The first batch includes artists; Deepa Kumawat, Druvaraj NV, Mehak Garg, Rija Kalita, Satyabhama Majhi, Souvik Majumdar and Sruthi Sivakumar. During the residency period, the residents will have guest lectures, interactive sessions and guided city tours that will play a pivotal role in the development of their artistic growth.
Future Goals and International Collaborations
In the year 2024-25, Dotwalk Ajitara Art Residency aims to host three, two-month-long residency programmes along with short-term residency programmes as well. The residency is also focused on fostering international collaborations with institutions, galleries and museums. In this light, their forthcoming residency programme is an Indo-Swiss collaboration supported by the Swiss Embassy through which the residency will host Indian and Swiss artists and provide them with a platform for cultural exchange and develop their artic practices. Apart from creating a suitable work environment for the residents, the residency programme is also focused on promoting community engagement.
Broader Cultural Impact
Founding Patron of the residency, Sreejith SN asserts that the residency’s structured presentation each year broadens its reach beyond the confines of the art realm, engaging diverse audiences in meaningful dialogues and cultural interactions. Through public events, artist discussions, and educational initiatives, the exhibition serves as a platform for stimulating conversation, promoting cultural understanding, and catalysing societal change. Consequently, this enriches the local cultural landscape and extends its influence to a broader spectrum of viewers.
“DAAR is a platform where young resident participants can actively engage in their work and with the mentorship programme that residency offers they can build upon their artistic growth, introduce themselves to the wider artistic community and get the correct support for their professional growth. The residency provides participants with opportunities for exposure, recognition, and collaboration, ultimately elevating their position in the contemporary art scene”, says Neetu Ambwani, the Founding Patron of the residency.
Vision for an Artist-Friendly Ecosystem
With the prime focus developing into an opportunity and a platform for emerging artists, DAAR is working towards building an ecosystem that is artist-friendly and should contribute towards their growth. An ecosystem that can be seen as a model which will acknowledge and facilitate the concerns and needs of the artistic community.
Unexpected Art Theft: The Curious Case of Taco Bell’s Stolen Masterpieces
Manan Shah is a museologist, curator and writer. His writings and curatorial practices are attentive to antiquity knowledge systems that have informed South Asia’s current cultural and political identity. Based in New Delhi, Shah is working as an editorial and programme assistant at TAKE on Art and is a part of the curatorial team at gallery LATITUDE 28.
