Do Independent Artistic Practices in the Era of Globalization hinge on the artist’s ability to visit countries other than his or her own? How does artist travel relate to other forms of human mobility?
•A Burmese artist must go to Bangkok to apply for a Canadian visa.
•Indians now need a transit visa to pass through London.
•A Senegalese residency manager flies through New York en route to Toronto and is forced to buy a new ticket via Paris for the return flight because US Immigration (located in the Toronto airport) will not allow the return transit through New York.
•- A Syrian artist cannot receive a travel grant from a US foundation due to nationality.
As hurdles to mobility increase and borders tighten, freedom of thought and expression
are obstructed at a time when tensions are already high across cultures.
Will the concept of an artist visa ever gain momentum?
Would it solve these issues?
Artist residency administrators and networks have a huge stake in the policy outcomes pertaining to mobility and cultural exchange.
and the Keynote:
Artists’ movements across the globe are an important factor in the ongoing construction of the creative world. The events, biennials and residencies in which artists take part, now provide access – though not unconstrained access– to international cultural productions. Despite this premise, the so-called post-colonial world continues to legitimize a stereotyped representation of what is on its peripheries.
Barriendos suggests an inspired reading of decolonization, one conscious that the presentation of works and the debates about them always take place around a centre of power.Advertisements