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Арт-резиденция в России: ролевая диспозиция в (пере)сборке поля современного искусства
This study analyzes art residencies in Russia as institutions that bring together artists, local contexts, and stakeholders. It focuses on three key aspects: strategies for institutional positioning within the art field and in relation to stakeholders; residents' practices regarding the local context; and the nature of the residencies' interactions with local residents. The institutionalization of art residencies unfolds through their integration into the "creative economy," the balancing of autonomy against stakeholder interests, and the niche differentiation of the residencies themselves. Their integration into the contemporary art field plays a crucial role, as art residencies mirror its key trends: a shift toward participatory practices, an emphasis on the creative process and the narrative surrounding the work, and a research-based approach to art. Participatory practices foster more horizontal interactions between the artist and the audience, while involving the audience in the creative process strengthens their connection to the final artwork. However, the success of this approach can be undermined by challenges stemming from institutional dominance in organizing audience engagement—specifically regarding the relevance and justification of incorporating participation into artistic practice. A more reflexive approach to artistic practice—manifested in the spread of the "artistic research" model—helps mitigate this issue by softening hierarchies and reconceptualizing the artist’s role as a mediator, including within participatory contexts. The study reveals that while staff and residents consider local community engagement important, they face practical limitations in realizing such collaboration. Barriers to interaction exist at both the level of individual resident practices and that of the art residency as an institution. The multi-stage nature of these practices entails a chain of translations—comprising research, conceptualization, and materialization—that necessitates an intermediary capable of performing a reverse translation from the object back to the local context. In its effort to strengthen its position within the art field, the institution inadvertently reinforces the boundaries between art and the audience.