Tag: Villa Romana

Against the Erasure of Dissent

Posted on by Andrea Scrima

A Conversation between Andrea Scrima and Anike Joyce Sadiq

“Against the Erasure of Dissent,” part of the exhibition “Mit Glück hat es nichts zu tun” (It has nothing to do with luck), Anike Joyce Sadiq at the Künstlerhaus Stuttgart, Germany (2022). Photo: Andrea Scrima

The following conversation took place from November 2021 to February 2022 via e-mail in reaction to a general meeting of the Villa Romana Association that took place on October 28, 2021 in Martin-Gropius-Bau, Berlin. The authors participated in this meeting in their function as members, having been actively involved for two years in a group of artists that had formed in response to a new funding situation. When there was no longer any way to prevent a simultaneous changeover in directors, the group sought to at least preserve the Villa Romana as a place created by artists for artists and to ensure that the general direction of the program established under Angelika Stepken be continued.

The Villa Romana was founded in 1905 as a German art association in Florence. In addition to an exhibition program and numerous collaborations with artists as well as with art and cultural institutions both local and international, the Villa Romana Prize is awarded each year to four artists or collectives from Germany in the form of a ten-month residency and grant.

This conversation attempts, from the authors’ perspective, to reconstruct, contextualize, and archive the discussions that occurred between artist members and the board and the course these took over time. It poses questions about membership and the extent of agency it allows, and inquires into the role artists play in shaping institutional structures. Financial and political dependencies, the seeming openness of a diversity-based policy toward art and culture, and the (re)distribution of the real and symbolic capital that becomes legitimized by a non-profit status are subjects of investigation. Read more »



Monday, April 11, 2022

Excerpt from a Work-in-progress

Posted on by Andrea Scrima

by Andrea Scrima

View from the Villa Romana in Florence

March 1, 2022

I left Florence exactly two years ago, a week after the first Corona lockdowns went into effect on February 22, 2020; I returned to the city for the first time yesterday, just as Russian attacks on Ukraine shifted into full gear. Back in Berlin, the war felt suddenly very close: we share a peculiarly intense, at times numinous northern continental winter light with our neighbors to the East; we are united by weather fronts, massive drifts of leaden, seemingly immobile nimbostratus clouds inching slowly across the North European Plain through Poland and Belarus and drifting farther east and south, eventually yielding to the frigid Siberian High and the weather patterns of the Black Sea Lowland. Moving eastward, the clement maritime climate of the western plains gradually gives way to harsher temperatures: summers are hotter, winters bitter cold. The day before yesterday, as over 100,000 people gathered in Berlin between the Victory Column and the Brandenburg Gate to protest the Russian invasion, the sky was sunny and clear, and although there was still a frigid bite in the air, the snow covering the streets of Lviv and Kharkiv and Kiev had either passed us by or was blown into Ukraine from the northeast. Martius, named after the Roman god of war, marked the beginning of the ancient calendar year and the resumption of military campaigns following a winter hiatus. Today, on the first of this ominous month, a forty-mile-long Russian convoy is approaching Kiev. It’s just above freezing there; precipitation is in the forecast for the next several days, expected to give way to subzero temperatures. People will be bombed out of their homes and forced to flee in the freezing rain; later, the slush on the rubble-strewn roads will turn to ice, making their journey on foot even more arduous. Read more »

Monday, June 8, 2020

Radical Admiration: A Conversation with Lydia Hamann and Kaj Osteroth

Posted on by Andrea Scrima

by Andrea Scrima

Lydia Hamann and Kaj Osteroth have been working as a collaborative team since 2008. I got to know them in January and February of this year, when they began a year-long residency at the Villa Romana in Florence that was abruptly cut short in early March by the pandemic and the lockdown measures that followed. Hamann and Osteroth studied fine arts in Berlin; their collaborative works—conceptual, feminist, immersed in dialogue and rife with external reference, with one foot firmly planted in queer theory and the other in visual studies— have already acquired an encyclopedic character and have been shown internationally to great acclaim. Their Radical Admiration project spans an impressively prolific period of artistic cooperation that has gone beyond mere rediscovery to critically and convincingly revise historiography and correct the erasures of seminal women artists from the contemporary canon.

Lydia Hamann & Kaj Osteroth, 2019.
Photo: Timothy Speed

Andrea Scrima: Kaj, Lydia, the two of you have been working together on a long-term painting project commemorating a selection of contemporary women artists; over the course of the past thirteen years, a large body of work has evolved that’s attracted the attention of international curators. How did the idea of collaborating first come about?

Kaj Osteroth: The beauty about a long-term collaboration like ours is that the story has been re-written and adapted as we’ve gone along. And each of us recalls a slightly different version.

I like to remember the beginning as a tiny but sparkling, breathtaking first thought: ***this might work***!!! Which became a practice and an even more serious commitment towards one another. That was in 2007, when Lydia and Emma Williams were putting together a workshop for Lady-Fest and invited me to become part of the small initiating group. The idea of continuing to work together was born in never-ending summer talks between Lydia and myself, most likely involving many other people, almost all over Berlin. Today it feels as though we had been meandering and tingling all summer long, until I moved into Lydia’s shared studio space and we began to give our words visual shape. The fact is, we actually started painting much later, because in 2007 we were both still busy finishing university, writing and trying to satisfy the requirements of the academic system. Read more »