The final thesis deals with cultural mobility, which is becoming an integral part of professional and private lives of a growing number of artists. Specifically, it concentrates on artist residencies as one of modern forms of the mobility. It describes their state, support and obstacles in the Czech Republic and in Denmark. The practical part of the thesis presents a comparison of two residential centers: MeetFactory in Prague and The Factory of Art and Design in Copenhagen.

Pourquoi, où et quand, des résidences d'artistes se sont implantées en Aquitaine et comment ont-elles abordé la mise en application des préconisations institutionnelles ? Quelles sont ces structures et comment s'organisent-elles en milieu rural, au profit d'une véritable visibilité de l'art contemporain ? Entre phénomène artistique, programmation culturelle et action sociale, comment l'immersion paysagère amène-t-elle à repenser la pratique artistique à partir des relations qu'elle noue avec le territoire, l'humanité et le milieu naturel ? C'est au travers de la mise en valeur et de l’ancrage de la résidence au cœur d’un terroir spécifique que peuvent se nouer des rencontres et des expériences inédites, entre création et vie sociale. La présence d’un artiste peut révéler ou réveiller des qualités et des potentialités latentes, à même de renvoyer une image insoupçonnée des lieux et des liens entre territoires et populations. C’est bien parce que le concept d’ « artiste en résidence » et le dispositif de « résidence d’artistes » ne convoquent pas de la même manière les notions de lieu et de contexte paysager que nous avons décidé d’examiner de plus près l’évolution du rapport de l’artiste au paysage et à l’espace tout au long de sa « trajectoire migratoire », pour appréhender l’effet de l’expérience de la mobilité sur la création artistique et sur le sentiment d’appartenance au lieu. En prenant nos distances vis-à-vis des définitions classiques du paysage, nous proposerons l’idée d’entité vivante et stimulante à partir de laquelle peut se dégager une nouvelle manière de voir et de concevoir le monde : révélant ainsi le « Génie du lieu », dynamique et complice de la création. / Why, where and when artist residencies have established in the Aquitaine region? How did they approach the implementation of institutional recommendations? What are these so-called structures and how are they organised in rural areas to ensure an actual visibility of contemporary art? Between art phenomenon, cultural programming and social actions, how does landscape immersion require to rethink art practice and its relationships with territorial collectivities, people and nature? Unprecedented encounters and experiences may happen thanks to showcase, design, life experience and key situation of artist residences in the heart of territories. The artist’s presence might reveal or wake up one’s qualities and full potential, enabling to give an unexpected picture of places and connections between territories and people. It is precisely because the “artist in residence” concept and the “artist residencies” facilities have different approaches to the ideas of places and landscape contexts that we decided to review the evolution of the artist’s relationship to space, landscape and populated areas – throughout his “migratory path” – so as to be able to understand the effect of mobility experience on artistic creation and connection to places. While distancing conventional definitions of landscapes, we will present the idea of a living and stimulating entity from which a new way of seeing and designing the world may occur. The revealed Genius Loci appears to have its temporary roots, dynamic and complicit with creative work.

In February 2022 Russia’s invasion of Ukraine started the war that would lead to the largest refugee crisis in Europe since World War II. In response to the war, SWAN, the Swedish Artists Residency Network, initiated the project Emergency residencies. During 2022, the network’s artist residencies opened up to provide safety for Ukrainian artists fleeing the war. Through an ethnographic case study and in-depth interviews, this thesis explores the experiences of four Ukrainian musicians in times of war and displacement, that took part of the Emergency residencies. It also investigates the function of SWAN’s Emergency residencies for musicians facing forced migration. The purpose is to shed light on the experience of musicians in a refugee position and the residency as a space that may contribute to uphold music-making and musical labour for refugee artists.   This thesis uses a transdisciplinary approach. It draws on notions of music as an emotional resource, music becoming political, and theoretical concepts regarding identity, belonging, and detachment, as well as translocality and transcultural capital. SWAN’s Emergency residencies is shown to provide several benefits for musicians displaced during Russia’s war on Ukraine. It includes the contribution of economic resources, opportunities for artistic practice and development, and promotion of cultural understanding and social inclusion. It also suggests that typical benefits provided by artist residencies gain added value for artists experiencing war and displacement, as it answers to losses typically experienced in forced migration. The war and refugee position are embedded in the daily experience of musicians facing war and displacement. This thesis suggests that musicians can use various strategies to either enforce, dismiss, expand or change the view of their prescribed identity in relation to the war and the refugee position. A Ukrainian identity is enhanced to show pride of their country, create awareness of Ukraine’s situation or foster a sense of belonging. Music can also be used to detach from positions and preconceptions surrounding such labels and connections, either through performing other identities or releasing from all categories. Furthermore, music and music-making can act as an emotional resource that helps regulate emotions or become a vehicle for political mobilisation and support for Ukraine. The politicisation of music is also actualised by the refugee position in itself and public perceptions of such positions. Transcultural capital highlights the capacities and strategies of musicians to create various economic, cultural and social opportunities through links to both their host and home country.

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text

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