Andes Sprouts Society is the second in a series of Site/Project Profiles that present off-grid, hyper-isolated residencies. Andes Sprouts Society offers 2 day to one month residencies to individuals integrating media, art, technology and farming. Residents enjoy a 250-square-foot self-contained mobile live/work cabin that relies on renewable systems, such as solar power and water catchment, as well as technological conveniences such as wi-fi. This year, the residency will be located at Goldenheart Unidiversity and the Michael Kudish Natural History Preserve, a diversified small farm with livestock, bees and vegetable and flower gardens, in Stamford, NY. Applications for summer 2011 are due April, 15th.
Yes, right now we are accepting submissions for month long residency stay. Applications for short stays 2-5 days are considered year round.
What is your artistic/curatorial approach?
Through sensing, cultivating and communicating with the soil, fields, seeds, plants, bees and animals via electronic means and devices, we explore a brand new genre of electronic art that situates artists in the farm land.
What’s working? What’s not working?
Local community support, collaborating with regional educational and cultural organizations and successful residency last season are encouraging. What’s not working was being tied to one location, but that has been resolved and the residency program now interacts with a different farm setting every year. This we hope will increase the diversity in projects and artists who participate with Andes Sprouts.
What kind of role do you hope to play in your local art scene or community?
Collaborate with local organizations working in arts or agricultural pursuits, building a bridge between farmers and the creative arts community.
What idea are you most excited about for the future?
Collaborating on the bridge between urban and rural interests.
Over the next several months we are engaging the legacy of institutional critique, ongoing institutional and organizational experiments, and Gerald Raunig’s notion of ‘instituent practices’ understood as artistic and curatorial practices that “invent new forms of instituting.” Question include: How do artists and independent projects challenge, comply with, and sometimes imitate traditional institutional forms? Further, how should (self-initiated) organizations consider their own operational mechanisms in order to responsibly address the social, political and cultural fabric in which they operate?