Artists Residencies, Challenges and Opportunities for Communities’ Empowerment and Heritage Regeneration
Abstract
:1. Introduction
1.1. Background and Purpose
1.2. Research Subject
1.3. Research Question and Paper Structure
2. Literature Review
2.1. Artist Residency Programs
2.2. The Impacts of Art Programs
2.3. Key Issues and Relevant Relationships Emerging from the Literature Analysis
3. Methodology
- research residences, places of theoretical investigation and synergy with the inhabitants;
- production residences, where the elaboration and the practical realization of an idea/project are the central objectives;
- residences connected with institutions and art festivals;
- residences managed by artists; established by art professionals, these residences develop a profile based on the founders’ priorities, linking to a specific artistic sector or a specific network.
- contribution of the artist of the 1900′s who lived in the residence, to the formation and evolution of European awareness;
- transnational mobility of the artist who lived in the residence;
- social context of the artist who lived in the residence;
- rooting of the residence in the local material culture;
- architectural qualities of the residence and the predisposition for its reuse;
- qualities of the landscape in which the residence fits.
- in Belgium, (1) Van Der Meeren house, architect Willy Van Der Meeren, built-in Tervuren in the 1950s; (2) Strebelle house (Verrewinkel studio-garden), architect André Jacqmain, built for the sculptor Olivier Strebelle, in Uccle, Brussels, in the 1950s;
- in Romania, Iancu house, architect and visual artist Marcel Iancu, built-in Bucharest in 1935;
- in Spain, Vilaró house, architect Sixte Illescas, built-in Barcelona, between 1928–1930;
- in Italy, (1) Fiorelli house, built according to the model of the Pompeian house by the archaeologist Giuseppe Fiorelli in Pompeii, restored in the 1920s; (2) l’Orto house, recovery project of an eighteenth-century building of the Fusco—Florio family, created by the engineer Umberto Castellano with the artist Sol LeWitt, for Sol and Carol LeWitt, in the 1970s.
- The identification of decision-makers, a term used to indicate stakeholders who are selected over other ones for the representative role they play within the experimental process as well as often promoters of the agreements that allow the latter.
- The construction of the word cloud, tools for restitution of the impact of the experimentation expected by decision-makers in the relative sphere of which they are representatives. This explanation is structured through the application of the Strategic Options Development and Analysis (SODA) approach typical of Multi-Criteria Analysis [55]. The method allows the elaboration of cognitive maps, in our case into the form of word clouds, starting from the verbal protocol of an interview, allowing the structuring of qualitative contents. The resulting system of concepts is elaborated through the principles of dominance and centrality with different dimensions in order to compose the word cloud.
- The articulation of the questionnaire model is based on the emerged addresses from the word clouds. To identify the communities’ point of view, a questionnaire is distributed to the population in which, in addition to entering their identification data—name, age, and job, questions are asked using a reinterpretation of Soft System Analysis. This is a useful tool to structure the questionnaire and to explore the decision problem from multiple points of view. The questions under examination were used to investigate the levels of custody, cohesion, creativity, acceptance, and propensity for experimentation.
- The construction of an evaluation matrix through the results obtained from a sample of 100 questionnaires distributed to the local community [56]. This matrix associates the correspondence of the different levels to the different age groups and related professions.
- The construction of the two project histograms obtained by processing the data received both from the questionnaires administered to the population before the design experimentation and from those carried out six months after the closure of the project.
- The construction of a ranking in which the projected increase highlights the most significant level of values compared to all the others that emerged within the project (Figure 2).
4. Artists in Architecture: Experience the Empowerment of a Community
5. Results and discussion
- It selects the young artist from an international context and opens the Praiano community to an encounter with other cultures.
- It places the disappearing way of life at the center of the artist’s commitment, favoring, thanks to the presence of six young architecture students, the meeting between the elderly with their stories and the artist.
- It leads the artistic production back to a collective laboratory, involving several citizens in the stages of artistic production, from the procurement of materials to the installation of the work.
5.1. Public Awareness Processes in Praiano
- The transient stakeholders, this typology includes all those that determine a transitory influence and have a variable interest in the process dynamics. National and international tourists or actors who manage them (the home manager of Sol LeWitt House).
- The direct stakeholders, this typology includes all those that determine a low influence and have a strong interest in process dynamics. This type of actor includes those who suffer direct effects of the quality of life and their size. So, among them, we include the resident population and local associations (NaturArte in Praiano).
- The indirect stakeholders, this typology includes all those that determine a low influence and have an indirect interest in process dynamics. This collateral form of interest arises from the impacts that the activities carried out by the actors could suffer. Tourist guides, teachers, and ecclesiastical figures, therefore, fall into this category of actors (the owner of Sol LeWitt House).
- The institutional stakeholders; this typology encompasses all those that determine a high influence and have a strong interest, strictly dependent on emergencies to face different scales in the process dynamics (Mayor).
5.2. New Opportunities of Development
- the creative industries, in particular those related to the construction sector starting from the commitment rooted in Praiano and throughout the Amalfi Coast, to invest in architecture and design for the perceptive and fruitful quality of the built environment;
- the creative-driven businesses, particularly in the ceramic sector, typical of this area, with the promotion of advanced manufacturing and artistic craftsmanship;
- the opportunities to enjoy the historical-artistic heritage, supported by the census of the network of artist’s houses on the Amalfi Coast and their possibility of opening to the public;
- the opportunities to enjoy the works of art created and kept in private residences and a new participation in experimenting with the performing arts and the visual arts.
- Promotion of marketing of products and services both by the Network and by members through marketing communication strategies.
- Creation of a shared marketing plan for all operators belonging to the Network in order to relaunch the tourist offer of the Amalfi Coast at national and international levels.
- Reputational analysis of the region and its tourist offers.
- Creation of training and territorial promotion events.
- Professional updating and training of the tourism sector operators and staff.
- Scientific research and initiatives on critical issues in the tourism sector and on local products.
- Creation of a branch for companies, a “business hub” of the Amalfi Coast Network that will assist and support the aspiring entrepreneur, from the idea development phase to the project, informing him about administrative and bureaucratic obligations, professional requirements, fixed costs related to the company and on the national and regional financing available.
- Management and organization of events, courses, and seminars at the Andrea Pane center in Praiano.
- The exhibition held in Milan, in Spazio Campania, from November 6th thru 30th November 2019, entitled “Experiments. Ugo Marano. Works from the Live Museum” promoted by Scabec (Campania Cultural Heritage Company) in collaboration with the Department of Culture and Tourism of the Municipality of Cetara.
- The exhibition in Naples, entitled “Lines, Forms, Volume” on 2nd November 2019, at the gallery of Alfonso Artiaco, proposes the link between the gallery owner and the American conceptual artist Sol LeWitt through six impressive “wall drawings”.
5.3. Answers to the Research Questions: Towards the Community Empowerment
- Two project histograms were obtained by processing the data received both from the questionnaires administered to the population before the design experimentation and from those carried out six months after the closure of the project.
- The construction of a ranking in which the projected increase highlights the most significant level of values compared to all the others emerged before.
6. Conclusions
Author Contributions
Funding
Conflicts of Interest
References
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Pinto, M.R.; Viola, S.; Onesti, A.; Ciampa, F. Artists Residencies, Challenges and Opportunities for Communities’ Empowerment and Heritage Regeneration. Sustainability 2020, 12, 9651. https://0-doi-org.brum.beds.ac.uk/10.3390/su12229651
Pinto MR, Viola S, Onesti A, Ciampa F. Artists Residencies, Challenges and Opportunities for Communities’ Empowerment and Heritage Regeneration. Sustainability. 2020; 12(22):9651. https://0-doi-org.brum.beds.ac.uk/10.3390/su12229651
Chicago/Turabian StylePinto, Maria Rita, Serena Viola, Anna Onesti, and Francesca Ciampa. 2020. "Artists Residencies, Challenges and Opportunities for Communities’ Empowerment and Heritage Regeneration" Sustainability 12, no. 22: 9651. https://0-doi-org.brum.beds.ac.uk/10.3390/su12229651