We had presentations from a curator, staff who run the residencies, and five previous and current artists in residence. I took copious notes, swapped cards with other artists, and felt totally inspired and enthused now that I have more of an idea of what a residency in such a place really is and what it could be. The V&A have somewhat formalised theirs, partly as a recommitment to their art and design ethos, and partly as a way of managing the hundreds of requests they still get weekly from artists wanting permission to do various projects in the museum, many of them unsuitable.
Much of the information was transferable advice about proposal writing for ant artistic applications, but there was real generous insight into what is possible at the V&A, what is expected, and what is available.
I listened to all this rather amazed, with the growing feeling that I am already doing some sort of ghost residency there, and have been for some years. I actually have quite a long connection with the V&A, from when I first came to London as a music student in 1982, at the Royal College of Music, which is just around the corner. I passed the V&A on the way there every day, and often went in for a wander. In fact, I remember going there instead of some music theory classes when things got difficult. I would hope to get lost there and come upon sections by serendipity. Of course that always happens. Cabinets of enormous keys, suits of armour, dusty statues. I remember especially enjoying the large ceramic bowls and platters from Venice and Florence of the 14th and 15th century. At the time I was diversifying into Renaissance music, learning the Viol, playing in consorts, and learning about that culture.
(accessed 7th April 2012)
It was so fascinating to see these grand objects, which would have been in use and on display, familiar to the characters I was reading about and whose music I was recreating. I found it comfortingly hilarious to see how occasionally the firing techniques distorted the faces.
(Can't find a suitable image online - will take my own to fill in next time I go to V&A)
On and off over the years I have visited often, sometimes with the same intent to wonder, sometimes for an exhibition or purpose, or to spend time with people. I took my children when they were still young enough for me to drag to such places. And as an art student I took photographs there, spent time thinking and writing - something I also did within the MA, as I have written about before.
As artist in residence at the V&A, you have access to archives, collections, stored items. You collaborate with curators and spend about half the time available for public engagement. It's an enormous commitment for six months.
A friend of mine, Clare Burnett, recently completed a residency at Leighton House.
I have yet to talk to her about it, but I begin to see what is involved, how the artist can move on their work in response to the collection, and how the institution gains from reinterpretation.
I may be unable even to apply for a V&A residency while still an MA student. A suitable residency for me may not be available for some years - it depends on the funding criteria. I may not be accepted. But I do know that I would love to do this kind of residency in such a museum as the V&A, to immerse myself in its collection.
7th April 2012
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