Artist Residency Reviews

To me, as a Northern European, Tunisia felt very exotic. The team behind the Dar Meso residency is incredibly supportive and helpful. They go out of their way to help artists connect with the local creative scene, including musicians and visual artists and they are open to all kinds of ideas and collaborations. I have very fond memories of my time there. I would highly recommend the experience to any artist looking to explore new cultural contexts in a welcoming and inspiring environment.

My time at Callie’s was an invaluable experience, shaped by the support of the outstanding team and the inspiring exchange with fellow residents. I was there during the Covid period—while Berlin, as a cultural hub, was at a standstill, Callie’s provided a space that felt both welcoming and professionally supportive. The studios are remarkably spacious and offer ideal conditions for a wide range of artistic practices. It was also a great opportunity to contribute to the opening of this institution with my exhibition at Callie’s—an experience I deeply appreciate. In short: If you have the opportunity to do a residency at Callie’s—go for it. It’s an exceptional place.

The people working at the residency are super kind, and the studios are huge and bright. Very chill.

First of all, I would like to preface this by saying that I am used to gatherings and residencies within my own field, but this was my first major experience of an inter-disciplinary artistic residency. This review is personal and only reflects my own experience at that time in my life. I tried to both cover the different areas with precision, and yet to not be too specific or detail-oriented. I am an—unscripted—theatre maker, performer and teacher, and used to be a geologist, as well as a teacher at university. I considered doing my masters degree in Longyearbyen, and had already considered applying for this residency earlier in my career but had discarded the option back then. So obviously, I was very excited to be able to apply to The Arctic Circle, especially for its natural environment, as well as the multi-field aspect—artists, scientists and educators. The environment was absolutely stunning: Svalbard is a gorgeous place on Earth, the weather conditions were fabulous and there was something very special about having 24h of sun a day (I took part of the Summer residency). The ship we were on (Antigua, for its last year as part of the program) is a beautiful vessel, with all amenities, very comfortable and the crew was absolutely top-notch in their skills and how friendly, interesting and helpful they all were. I've met some great artists and people on the ship, and I am still in touch with a part of my fellow-residents. A first let-down on my expectation was the absence of scientists and teachers as part of the residency. Some of us were interested in sciences, or curious about it, and some were also teachers for arts, but everyone was primarily an artist. This felt a bit off compared to how the residency, or 'expedition', was advertised by the organisation: it was probably my most touristic experience ever, and was a gorgeous opportunity to discover this part of the world surrounded by other fantastic artists, but didn't offer the multi-field approach. The residency consists mostly of travels, hikes, landings in beautiful landscapes and degustation of the amazing food that the chef had prepared. I somehow was prompted—maybe because of the vocabulary used, maybe because of my own hopes—for something more focused on work and exchanges between the residents. Except for the presentations of our individual work, no other collective session was planned or facilitated, and as much as I like solo work as well, I started missing moderated conversations. Given the nature of the work and the environment—most people were working on the environmental impact of humanity and we were actively bunch of tourist in an endangered natural area—some conversations about that paradox could have been initiated by the organisation. As well as discussions on our place as artists, the intellectual property of our productions, or any other topic to reflect and profit from the fact that we were 29 artists isolated from the world for two weeks! On the plus side, books were put at the disposal of everyone and the resources of the Library of Longyearbyen were made available to the artists, which was a real treat. The guidance around the Svalbardian nature itself was also excellent, interesting and expertly dealt with, like for instance the relationship to planning vs. following what nature has to offer. In terms of composition of the group and as a non-native English speaker, I felt like it was heavily dominated by anglo-saxon residents, which also showed in the culture that developed in the group and the 'established normalcy'. The reality is probably that the price-tag of such a residency is really high for people coming from non-dominent cultures, but I wished the program to have been more diverse on this aspect—as it was on other aspects. We were all paired in cabin by assumed genders, and I was very satisfied with my appointed cabin-mate. He was an absolute delight, and our energies were both different and highly compatible. I can only speak for my own pairing, but this was one of the highlights of my experience! As the only theatre maker and generally one of the only live performance artists, I felt quite lonely in my craft. I could see how the photographers enjoyed sharing with each other, how the visual artists talk-shopped, or how digital media creators were able to be inspired by each other, but it felt very dry at times to be the only one in my craft. This isn't per se linked to the residency itself, but maybe to the selection made. I feel like collective arts practitioners are more used to collaboration—and maybe even more in my case being in the field of unscripted theatre—and therefore the threshold of what feels like 'togetherness' is maybe higher than for someone who primarily works alone in a studio. On the possibilities for work, it may sound obvious but being on a touristic tall ship does not always make it easy to find time or space to focus on work. Again, this might be a misalignment of my expectations, and I wonder if I was too different from the rest of the group to really find my space on a professional level, or even for my work to spark interest in others—residents and guides included. The pre-travel communications with the program and their organisers was smooth, efficient, useful and very reactive. I have nothing to say about that other than I felt cared for and in good hands. Our iteration of the residency presented some challenges that were addressed and tried to be dealt with, but there could be better protocols and safeguards in place to not rely on the other residents when something goes wrong between residents. The end of the residency consisted in 2 and a half days on shore in Longyearbyen, and this was only made clear late in the planning process, so it is good information to have. Overall, I had a good time and will keep good memories, but I wish I had known more clearly what to expect, especially for the price of the residency. I found a few interesting things in the experience—mostly on a personal level and with individuals—but didn't feel changed by it a professional level. It felt like a big financial investment for the little outcome, and as much as it was worth it for the experience alone and the quality of the service, I wish I could have chosen to apply or not knowing that. I did produce a show inspired by some of the historical stories we heard during the trip—and a plastic igloo in Longyearbyen—for which I collaborated with a few fellow-residents, using some of the sound recordings they had made. I would recommend for applicants to think of a very concrete project in direct relation with the landscape or the ship, that can be done no matter the schedule or the weather and independent from the participation of your co-residents—photography, videography, recordings or illustration are great examples I've witnessed first hand, because they are given priority for their concreteness. As I mentioned at first, all of this is a very personal lens and experience, and I do not blame anyone in particular for the sub-optimal experience I had. I would probably not do it again in the same conditions, but would still recommend it to anyone that resonates with the content, the way the organisation works, and has a project that fits the bill. I hope this helps!

This really was an unforgettable programme, being on a sailing ship around Svalbard and making art. The team on board knew how to support any technical request when it came to hiking, filming, recording of sounds etc and did their best to accommodate all our requests. This residency is high on the cost-side and you have to find your own funding support. You also have to be prepared for the cold which if you are from a tropical country, I recommend getting the packing list as early as possible. This was a self-directed programme so having good shipmates would also be key to a good experience.

My experience with L'AiR Arts residency program at Atelier 11 has had a lasting impact on my career and artistic practice. Supported by the Canada Council for the Arts, it gave me an opportunity to develop ideas for new work, dialogue with international artists and broaden my awareness of the global artistic landscape and my place within it. As part of a self-directed residency at Atelier 11, I created a dance film that has since been screened internationally. The development I fostered through my experiences with L'AiR has catapulted me forward in my artistic vision, self assurance and body of work.

What an incredible two weeks it has been doing my research residency with L'AiR Arts. Thank you for bringing together a very diverse group of artists from around the world and in terms of practice. This experience really solidified the importance of collectives and international groups of people, especially artists, coming together, exchanging ideas and learning about the process of each artist, their artistic vision and how they approach executing their ideas. To top it all, we also had the amazing opportunity to see an incredible amount of art fairs and exhibitions in Paris that were all so unique and different!

My recent experience at Atelier 11 with L’AiR Arts afforded me a comfortable live-work space and a supportive community who helped me to focus on the creation of new work. The daily exchange of creative ideas, the communal meals, and an overall sense of camaraderie between myself, the team at L’AiR Arts, and former resident artists, helped me focus on the task at hand, continually feeding my inspiration. During my residency, I became aware of the history of Montparnasse and felt connected intergenerationally to the artists I admire. An original creative energy emanated from the walls of the atelier. I feel fortunate to have experienced its history and to count myself as one of the many artists propelling it into the future.

One of the most longstanding residencies located in the heart of Paris, where historic artists such as Modigliani, Soutine, and Foujita resided and created their works, Atelier 11 L’AiR Arts is a living heritage site and an international research residency dedicated to fostering cross-cultural exchange and contemporary artistic dialogue within a historically significant working environment—an opportunity to engage directly with a space that has shaped generations of artistic practice.

I stayed at Hub Feenix during one of its first months of opening in 2023, as both an artist and digital nomad. It is very unique in that it's a community space - but feels like a mini mecca for artistic exploration, spiritual and physical wellness, and community with like-minded souls. I came to work on my art, like many others, and ended up having an unexpected holistic experience that gave me the space and facilities to take care of my wellbeing - something I've struggled with since nomading. One of those spaces is the location itself. It is nestled in a peaceful forest, yet still connected enough to civilization via car and bike (both available onsite to use), and the local bus. It offered me, and the others, a perfect balance between seclusion and accessibility. My daily walks in nature were one of the greatest gifts of that experience. The artist facilities were the best I've experienced to-date - spacious studios that I used for filming, a sound studio that they were building, which I was able to use to record some VO lines, and a well-equipped tech room for co-working. And the many facilities to support a holistic focus were equally impressive, such as a gym they were renovating, yoga rooms, massage rooms, a cozy café, horse riding lessons, meditation sessions and holistic healing services (organized by the team with local facilitators). The onsite saunas were a major, and unexpected, perk! The residency is inside a former hospital, where certain floors are dedicated to the artists for working, others for the holistics services that are available for artists and nomads, and the ground floor for local companies and facilitators to run workshops and even festivals that we were always invited to. Despite all the activity, the dozen or so artists/nomads present and around 20 volunteers on-site (at least back then), the space never ever felt crowded. There was always room to work, relax, or explore across the many floors. Lastly, the staff and volunteers were some of the kindest humans - always helpful, accessible and committed to ensuring we had the best possible experience. Having completed several artist residencies since, I can say I haven't experienced this level of service anywhere else. I am profoundly grateful for my time at Hub Feenix - it offered so much more than I was expecting. I truly hope to return again one day!

ASITW was my first and only residency. But it was a truly valuable one. I divided my two-week residency into two separate week-long stays in October and February. I used both of those weeks to focus on upcoming personal projects. The isolation was perfect for me, and the experience of being able to work freely and without boundaries was immeasurable. They also allowed me to come back and shoot scenes for a film I produced as part of my residency. Cammie and Ama, the administrators, were and have been great to me since my residency. It was hard to leave there each time, but I felt fulfilled and replenished. Highly recommend.

I enjoyed the whole experience and I have been recommending it to my fellow artists! Everyone that works there is super nice and helpful!

Space - Benefits: The residency is well-known, attracting a decent number of visitors during open studios, which offers good exposure on social media and networking opportunities. The location is fantastic, surrounded by a variety of restaurants and cafes. - Challenges: The neighborhood can feel unsafe at times, with a significant homeless population. Artists must use a single room as both studio and accommodation, which is inconvenient if you work with dusty or toxic materials like oil paints. Those who have external housing in Berlin and use the residency space solely as a studio may have a better experience, but for most, the dual-purpose setup can feel overwhelming. Shared facilities—one shower and two toilets per floor (for five people)—are poorly maintained, with frequent plumbing issues. The building itself is old and not well-kept, with subpar living conditions that may feel unsafe, particularly during events hosted in the first-floor gallery. Team - Benefits: The on-site and online curators are supportive, passionate, and actively help artists. The technical staff is exceptional, offering expertise in complex installations, which is especially beneficial for artists working on intricate or large-scale projects. Additionally, there's access to free resources in the basement, including found objects and technical equipment for welding, woodworking, and more. - Challenges: The admin team is unhelpful and dismissive, doing the bare minimum for artists' well-being. Their attitude can add stress to an already challenging environment. Program - Benefits: The residency provides a platform with high visibility due to its reputation. - Challenges: Opportunities to develop your artistic practice are limited. Despite its prominence, the program has somewhat restricted connections to the Berlin art scene, possibly due to its origins with an art foundation based in Barcelona, not Berlin. Artists must independently research and invest additional effort to fully leverage Berlin's vibrant art ecosystem. Practical Advice - Be Prepared: Expect harsh living conditions. Shared spaces can be challenging, as some co-residents may not respect personal boundaries, and the admin team is unlikely to address concerns. Prepare yourself mentally and physically for a less-than-comfortable stay. Costs vs Gains - The monthly rent is relatively affordable for such a central location. However, the quality of living reflects the price point—what you save in rent, you may lose in comfort and convenience. In conclusion, this residency may work best for artists seeking exposure and technical resources rather than those prioritizing comfortable living or structured opportunities for practice development.

The remoteness and nature were great, but that's where the positives end. I feel like I was in an AirBnB and not an art residency. Your mileage may vary, but neither the hosts, nor the other people in my group seemed to be engaged or interested in art. I feel like our group was a filler for the time they could not find renters. The rudimentary facilities you get are pricey, some of it you can't use, and everything (including soap or sheets) costs extra. Communication with hosts was limited and difficult, in stark contrast with Spain and Spanish culture. You are there so the owners turn a profit. I couldn't wait to leave. Most disappointing excuse for an art residency of my career.

Creative and inspirational environment, good size studio space with wood workshop and tools. You can work with found materials and if you like, site specific work in the area. Interesting industrial history with a museum and archives with helpful staff, as well as lots of visual input from around the area. A well planned and organized residency with lovely people!

Benefits: Very generous stipend, beautiful accommodations, it's located in Antigua, Guatemala - both the town itself and the surrounding area is stunning and very inspirational (there are two volcanoes - one that is often active!). I was treated very well by the foundation's family - they took me around the area, invited me to dinner, made sure I had everything I needed, helped me scout some locations for video work I wanted to do etc. Also, Guatemalans are some of the nicest (and politely reserved/respectful) people I've met! Challenges: I was at the residency alone - there were no other artists in residence. At most, they can house two artists in the two-bedroom cottage that is on site. I believe it is mostly one artist at a time though. I found this quite isolating compared to other residencies as there was nobody to chat with at dinner most nights or to do a critique with etc. If you love alone time this would be a great residency for you. I also don't speak Spanish, which was further isolating. In retrospect, I would have done a better job of learning Spanish before I went. A big challenge for some folks would be noise. The studio and accommodations are situated within a textile mill, which is right on the edge of the town square. Many nights the townsfolk play soccer in the square (and play music) until quite late, and the local roosters are up and crowing early in the morning. I'm a pretty sound sleeper and have lived right next to a train stop in London, so I can generally handle busy-city noises. However, the soccer merriment and roosters were new to me and I struggled a few times to fall asleep/stay asleep. If you're a light sleeper, this is probably not the right residency for you. Practical Advice: Learn (or know) Spanish, bring earplugs, bring any supplies and equipment you need as Antigua only has one art store that I could find and it was very limited. Costs vs Gains: Undoubtedly, the gains far outweighed the costs. Although I didn't make many professional connections during this residency, I did develop my creative process/practice significantly, in part because my work is site-specific and I was faced with an entirely new kind of environment. The stipend also really helped me to be able to take time away from work without too much lost income. Since my residency, the foundation has built a purpose-built project space and they appear to have regular events in this space, which significantly improves both the available resources and the issues of isolation and professional development opportunities (I imagine). Overall, once I got out of my own way and learned to handle the feeling of isolation, this was a fantastic residency. It's one of those residencies that is what you make of it. The people running the program leave you to do your work - they are available if/when you need help but otherwise respect your space and time.

This is a great residency for someone who wants to develop a specific project with a lot of time alone. You're the only resident and you have a house for yourself, so it's great for focusing on your project. If you are not a textile artist and want to learn about making textiles, this is a great place to start. You get to practice and learn with people from the indigenous communities, which is also a great experience. If you want to travel, there is enough time to visit very nice places around the residency and there is a budget to do it. The staff takes you to visit the capital for a day, see galleries and other buildings, museums, etc. That was a lovely part of the trip. The staff is great. If you don't like to be on your own, or you're looking for a place to interact with other artists, this is not the place for you. Considering all this factors, I totally recommend this residency.

For me, it was a quiet and mentally sharpening place. I was able to feel the life of plants by seeing kochia growing in a land without people or animals. And the people I met here were amazing. Because it's a beautiful place and Simon is organizer. I believe that good people attract good people. I would like to come back someday.

Benefits: Become more aware of caring for the environment. Greater knowledge about native cultures. Unique mystical experiences. Challenges: Exposure to foods that tend to be bad because you are not used to them. Allergies to bites. Practical advice: Organize camps of one or two nights in the jungle so that residents can live the experience of feeling part of Nature. Costs vs Gains: Daily life devoid of luxuries and comforts vs. enjoying and learning from a unique environment and ancestral culture.

The benefits were more personal than for my career and relational sphere. There were no major obstacles other than the distance from the fine arts shops, but even this was not a problem thanks to the machine made available for artists.