production residency open call
REJMYRE ART LAB’S Center for Peripheral Studies PRODUCTION RESIDENCY OPEN CALL on the theme of ‘refuging’
How does a factory town that produces glass, become a factory town that produces refuge? Rejmyre Art Lab invites artists from fine, performing and craft backgrounds, who are engaged with conceptual and contextual practices, to participate in a funded eight-week, production-based residency in Rejmyre, Sweden, in the spring and summer of 2023. Rejmyre has, since 2009, played host to a long-term, place-based, artistic research project with a focus on site-responsive practice.
ON THE RESIDENCY THEME ‘REFUGING’ One of the organisation’s primary research themes has, since 2018, been refuging: an exploration of how giving/taking refuge, as an act and practice, can be developed and facilitated through multiple artistic interactions and interventions. The theme has been developed by the project’s research leader Daniel Peltz, who, together with artistic director Sissi Westerberg, will introduce the theme and projects developed thus far during the ensemble residency week.
Refuging is a call to action for artists to develop the practice of giving/taking refuge. The initiator of this project, the U.S./Swedish artist Daniel Peltz, asks us to reconsider the notion of refuge, not as a noun (a refuge, a refugee, etc.) but as a verb, as a vital, inherently reciprocal set of actions. He asks us “how might we, as artists, use this thin sliver of time, while the worst impacts of climate change are still in the future, to develop our capacity as a society to give and to take refuge?” Refuging takes the form of a series of productions-in-residence, that will result in a broadly distributed refuging toolkit, a set of artist-shaped models for how to do this complicated work of refuging. Peltz writes, “perhaps in the not-to-distant future, people facing the need to refuge will pick up this toolkit and say, ‘I heard they tried it this way in Rejmyre.’”
One question that has become central to Peltz’ thinking around refuging is: How does a factory town that produces glass, become a factory town that produces refuge? Here Peltz references and is responding to the appropriation of small towns like Rejmyre as temporary refuges for newly arrived people, while ‘better housing’ was built for them in, implicitly, ‘better places’. Peltz, who has been investigating the town of Rejmyre for over 15 years, challenges the logic of this articulation. He asks, What if this was actually a better place than many to do this thing called refuging? Here he performs a shift on our usual association with the word ‘refuge’, moving it from a noun, referring to people and places, to a verb referring to a set of actions. In this shift refuging expands to become a practice that encompasses everyone. The subject positions of the refugee who comes seeking refuge and the one who gives refuge collapse and we are left with a reciprocal state that we all might learn to perform and inhabit better. Further, Peltz makes a claim that sites like Rejmyre, that have been used up in the cycle of extraction, depletion and abandonment, are not just good enough places to house refugees but places that are uniquely well suited to developing the practice of refuging because they themselves are in need of refuge.