Artists’ Perceptions of Precarious Working Conditions within Mobility Programs

Abstract

This study investigates how artists experience precarious conditions within cultural institutions, with a particular emphasis on their participation in residencies. By unpacking these dynamics, the study contributes to ongoing debates on the structural and affective dimensions of cultural labor in the 21st century.

The theoretical framework weaves together Pierre Bourdieu’s (1993; [1987] 2013) concept of cultural capital, which illuminates inequalities and differential access to resources within the cultural field, with British Cultural Studies perspectives that examine the affective, self-exploitative, and performative aspects of labor (McRobbie 2016; Gill & Pratt 2008). Isabell Lorey’s (2015) conceptualization of precarity as a form of governmentality is employed to understand how insecurity becomes normalized and shapes artists’ lived experiences. Collectively, these approaches offer a nuanced lens to investigate individual perceptions and strategies within residencies. By applying qualitative methodologies, this study draws on interviews with participants in the Onassis AiR residency program in Athens, Greece. Analysis focused on recurring patterns related to mobility, institutional expectations, and the negotiation of professional identity.

The findings reveal how artists perceive themselves and their practice, navigate both local and global cultural contexts, and articulate their autonomy. They demonstrate that artists position themselves as both personal and professional actors in motion, negotiating the opportunities and constraints of residencies while managing their careers and creative trajectories.