Stimmen früherer Stipendiaten

Internationales Atelierprogramm der ACC Galerie und der Stadt Weimar (seit 1994)

Kontakt:
studioprogram@acc-weimar.de

Städtisches Atelierhaus

The peace of the studio and the social life at the ACC were important contrasts for me. It was a great advantage to be able to choose just what I needed and when. There was no problem working and exhibiting professionally, because the way of life in the ACC always guaranteed a listening ear, competence and high standards. An experience to remember!

Basically, it is always interesting to have a grant for a different country, and to discover new people and a new city. I had a good place to work and to live - that is important. If you can't speak German, you need to find a friend who can speak both languages well, so that you can exchange ideas or talk about your problems.

Ildar Nazyrov, Russia

Leaving my studio walls in Athens to come to Weimar was a bit like trying to kick depression by pathologically boring myself. I can still see Frank Motz trawling through the most funds-deprived art historical graveyard (Thueringen) and digging up the most fun-addled corpses (Wieland, Nietzsche...) for my inspiration. And he succeeded. Because like so many ambitious mischief makers (artists), I developed excessive multi-tasking which resulted in a video soap opera, "Dirty Soap", and a photo-novella of eight-hundred shots, "The Story of Agathon." After my residency at the European Studio Program, I can easily check voicemail with one hand and eat "pommes" balanced on the gear shift with the other, while simultaneously merging across three lanes of autobahn traffic to take an interesting picture. So, future artist-in-residence, don't be afraid of Weimar. Just dive in and surrender.

Dimitrios Antonitsis, Greece

I find myself constantly remembering you and your beautiful city. About my experience there, I can tell you that the time I spent in Weimar was great - I worked a lot, maybe more than I had expected, and perhaps I missed a few things in the city. I remember the light of the place, the house, the cemetery…and of course Julia. I was very happy there, although my visit coincided with 9-11 and - being so far from home - I felt sort of scared and worried about the end of the world, anthrax and terrorism. I think if I had had more resources, that would have made it possible to stay longer in Weimar, but I'm happy now to have invested those resources into producing a consistent body of work. I would like to come back some day, because while I was there I was able to go deeper into my research and had the chance to develop my work. Definitively, my experience at Weimar was very pleasant and important to my subsequent work.

Irim Lux, Spain

"During my stay in Weimar 2004, I found the staff of ACC extremely helpful to me while I was working on a large-scale photographic work for EXPO 2005 in Aichi, Japan. For the group exhibition "Irony is dead - long live irony!" I also produced two other smaller installations, so I can say my time in ACC was very fruitful. ACC studio program accommodates only a few artists simultaneously, but the friendliness of the ACC team in the café-restaurant as well as the gallery, provides a diverse and interesting social network. Also the individual residents of Weimar and the staff of the cultural management the city helped me to enrich and improve my artistic process through their participation, both technically and thematically."

For the ACC I can say that it was a really hard time for me and for my work. I work mostly site specific and try to get in contact with local people where I live, but this was very hard in Weimar. The people involved in the ACC Gallery were open, but the people in the city were not so open - I think because of the social structure that changed so many times, the history and the story before and after the wall. So many changes made people tiered. Maybe they try to focus more on themselves. They are a bit scared by any new situation. The studio place was also isolated, it was in the center but it was hard to find other artists around. And you did not meet often with the local people because it was in a street next to the nursing home and a cemetery. I think this makes it isolated too. The city itself is problematic too. I think there is too much history and it is really hard to move with this history you feel on your shoulder. I think if you are working as artist in the studio it maybe more easy, but if you work in social contexts it is interesting but also very hard to get in the society.

Esra Ersen, Turkey