Julia Haarmann (Managing Director) from Künstler*dorf Schöppingen
> Can you describe where the residency place Künstler*dorf Schöppingen is located, and how the geographical and societal contexts shape your work and program? What does it take to operate from the margins, away from the national centre?
Since 1989, the Künstler*dorf Schöppingen has been an international artist residency for the fields of literature, visual arts, and composition. The residency is located in two former farms in the rural Münsterland region, near the Dutch border. Every year, the Künstler*dorf awards around 40 fellowships. The fellowships are each associated with a stipend-funded residency of two to six months. Up to 15 artists live and work here at any one time.
The foundation of the residency was laid by the state of North Rhine-Westphalia with its culturally significant decision to promote art and culture beyond the big cities, but with an impact beyond the state borders. And what I can say from working with Künstler*dorf is that it doesn’t feel like operating from the margins at all.
Artist residencies occupy a special niche in the cultural ecosystem, allowing artists to openly ask question, readjust, and realign their work, themes, and methodology. The lack of urban distractions and the tranquility of a rural area support this contemplative process. At the same time, artist residencies always operate in a site-specific manner and interact with their surrounding environment. In the case of Künstler*dorf, this concerns questions about the former and current functions of the buildings, which were constructed as farms in the early 19th century. Agriculture still shapes the townscape today, as does the lively community spirit in this economically strong and demographically young region. Traditions are passed down through generations and also form a strong context. Located in the center of the village of Schöppingen, which has a population of around 7,000, the Künstler*dorf also reflects the ambivalence of village structures, which, in their self-image as communities of solidarity, also produce exclusions. Where people meet, areas of friction arise, but we should approach these with curiosity and see them as an opportunity to learn from and with each other.
So you could say that the intended charisma develops particularly productively in the decelerating environment of the village community, which probably does not represent an ideal world, but certainly provides a committed environment for resonance.
> In your experience, what role can the proximity to a border region play in the personal understanding of self-location and collaboration, or maybe also as a matter of fact, in your every-day life and work in Schöppingen?
The close proximity to the Netherlands certainly has a significant influence on both the region's identity and that of the Künstler*dorf. We find the special cultural and culinary offerings, the linguistic diversity, and the different interpretations of similar geographical environments to be very enriching. This leads to surprising overlaps, where we find ourselves sharing similar customs on the other side of the border. At the same time, there are problematic rituals that have spread in the border region, such as blackfacing as part of the St. Nicholas tradition. Through collaboration and an exchange of information and experiences, partners on both sides of the border can support each other in finding ways to process meaningful social change. The continued existence of the now often invisible border was, of course, brought back into sharp focus during the pandemic. In such special and emergency situations, country-specific policies can separate us from one another, but they can also bring advantages. We have for example also benefited from connections to the Netherlands in very practical matters relating to the running of the residency, such as a visa application for an artist, which was supported by our partner Artist Residencies Enschede (ARE) via the Dutch embassy.
In this respect residences are infrastructures for artistic thinking and experimentation, but also for the dynamic process of social and international cooperation. Their impact lies in the sustainable orientation of artistic careers and networks, as well as in ongoing cross-border dialogue.
> In which way can networks be supportive for AiR programs in order to promote shared interests? What can be achieved more effectively through networking?
As described above, networks, especially those that transcend borders, are important structures for sharing experiences, creating impact, and bringing about positive change. Whether they are loose or formal structures, they initially provide a framework for collegial exchange and resonance. If we share similar challenges and experiences, we can find support and guidance within these networks. In a next step, we can work together to promote issues and intentions. This creates awareness within the network, which in turn can be used to exert influence as a shared goal. In this way, networks enable us to grow beyond our own capabilities, beyond geographical and national borders. And I think that is an important and meaningful task, especially these days.
Added to this are the connections to international artists who are in contact with the organizations through the residencies. The special potential of artist residencies is not directly related to the production of artistic works and immediate visibility. Residency work is above all relationship work that focuses on encounters and exchange. It deliberately eludes a certain logic of a direct usability for the benefit of a long-term effect. In this way, the lasting impact of residency work lies, on the one hand, in the development of artistic careers. On the other hand, however, residencies also have an effect in a very broad and powerful network of alumni and organizations who follow guiding principles of solidarity, diplomacy, and mutual support.