Artist Residency Reviews

I was part of the summer 2025 cohort. I do not think any of my fellow artists would recommend Oreum residency to other artists. While the website and marketing may seem nice, the actual residency was far beyond disappointing. The people running the program speak as if they will support the artists, provide opportunities, send emails in a timely manner, and follow through on their words. This was certainly not what happened for us. There were red flags from early on but they seemed nice enough to overlook. For example, they would promise to send some info over in a week but weeks or even months would pass and then they would write to us, sometimes only after further follow up, and tell us to get back to them in a day or two. There were so many moments where we were misled. After some looking into things, we learned that the gallery we were told we would exhibit at didn't even have an official contract signed. At one point, we were told the gallery had gone through renovation so we would have to take taxis over to measure all of the spaces ourselves. When we arrived we found that the gallery was exactly as it was when we had first visited weeks prior. These are only a few examples. After weeks of shirked responsibilities and delays, the exhibition was unilaterally cancelled less than one week before the final opening date by the people running the program even after asking us to make all sorts of accommodations for it. We had left our artwork behind in Jeju without insurance or anyone staying there to and were waiting for it to be shipped to us in whatever condition and whatever timeline. Again, these are only a few examples. It would take too long to write a full account of all the frustrating moments of this without triggering myself again. Some of us considered taking legal action. Hopefully cedar Hill and disilence and any other groups partnering with Oreum are aware of the mismanagement and verbal manipulation a little bit with this review. Running a residency is not a simple task and artists' time, resources and funds should not be used in such ways. Jeju is beautiful, but I believe you are better off renting your own stay and doing art there rather than doing this program.

Mallorca is a special place — yes, that’s a fact. Villa Capri boasts magnificent grounds: expansive space, a vegetable garden, nature all around, light-filled rooms, disconnection, rest, beautiful décor, exquisite taste, and every comfort you could possibly need during your stay. But do you know who truly gives it soul and makes everything come together? Lorena. Lorena is Villa Capri — a generous, creative, dreamy, attentive, and entrepreneurial soul who made the stay worthy of the finest resort. I leave with a full heart after sharing these experiences. This is my fourth year being part of the residencies, and I have nothing but words of gratitude. I will return soon to live another deeply healing experience in every sense.

Spending 2 weeks at Villa Capri was a highly enriching experience, both artistically and personally. The space itself is truly special, full of character, and so peaceful. It creates the right conditions for focus and experimentation. What stayed with me most was the atmosphere. It felt safe, nurturing, and genuinely supportive. There was space to take risks, to share work in progress, and to be vulnerable without pressure. The environment encouraged dialogue, collaboration, and deep listening (to oneself and to nature...) As Mallorca has become a luxury retreat destination, some people come here expecting that... Villa Capri provides a raw and real experience, you don't need a perfect studio space if you have the freedom to place your table anywhere you want in a huge garden... It is rare to find a residency that feels both intimate and expansive at the same time. I left feeling inspired, grounded, and connected. I would join again without hesitation and am already looking forward to the next nomadic residency outside Mallorca.

Excellent private bedroom with bathroom. Shared kitchen and living room. Beautiful, well appointed environment for day to day living. I'm a curator so didn't use the studio facilities. They also have relationships with off-site maker spaces. Staff on-site so they're available for help. I would have liked to been with residents who had a more complex and deep understanding of power dynamics and the relationship to class, gender and race. That could be explored more candidate interviews. Lots of interesting art organizations to visit in the region. Grocery store and gym in walking distance. There is a car available to residents but only those with an American driver's license can use it. Santa Fe and New Mexico in general is a place where a vehicle is necessary. Free to apply, no fees to pay but no funding.

The apartment they have residents stay at is on an incredibly male-populated street with men flooding the main street at all times. I did not want to walk outside at night and did not feel safe on the street. The organizers flounder and seem to not know what they're doing. It's run by volunteers but that doesn't mean you can charge artists money and then go AWOL. They have random guys come in to give critique on your work which is frankly unwelcome when the work is personal or feminist. It would have been cheaper to rent an apartment for a month and I wish I would have.

charge high fees and do not disclose them upfront in the application process

Caution notice: 1. the price posted on their website is not correct. It states a price for the season, then after booking it, raises the price. 2. they agree to be paid by PayPal, and after paying the fee, say you have to pay more to cover their vendor fee. 3. they never provided me with a signed residency agreement. I never saw all their requirements/ 4. because of the questionable pricing practices, I notified them 2-months before the residency that I was cancelling my stay and wanted a refund. They refused my request stating they have a 90-day cancellation policy. This was never stated before the day I cancelled. They said it was their rule. Since they never provided me a residency agreement, I had no idea of this rule. Avoid these people, they are unethical, greedy, and certainly not interested in cooperating with artists.

run by volunteers space, they give residents free access and discounts to their music events concerts etc and workshops, nice central location, rooms are big and lots of light. we have a big studio space downstairs and everyone is really nice! would def come back again if i have the opportunity

Great experience, perfect place to create and meet others artists

My experience at Prisma Estúdio was very enriching on a human and artistic level. The residency has a strong sense of community and encourages exchange, conversation, and experimentation, which helped me approach my practice with more freedom and less pressure. Being based in Lisbon also made it easy to connect with a wider cultural scene and meet artists from different backgrounds. The program is quite self-directed, so it works best if you are comfortable managing your own time and expectations. My advice to future residents is to be proactive, participate in events and open studios, and arrive with a clear intention while staying open to where the experience might lead.

Good location in the center of Lisbon, they have a large space to work in and the rooms are in the same building

Benefits: Zaratan was a great experience for me that continues to live in my imagination several years later. Lisbon offers many lenses through which to look at and think about the world: cultural crossroads, post colonialism, post fascism, tourism, landscape (rivers, mountains, tides, oceans), infrastructures of the past & present, the new & shiny vs the old & crumbling, foodways, etc etc. The community of artists who run and support Zaratan are international in their backgrounds and perspectives, and they enhance this sense of a greatly widened perspective. Their suggestions during our weekly meetings and casual chats about both my work and things of interest in Lisbon were useful and insightful. Living closely with another artist and his partner was also eye opening and wonderful, and I really enjoyed our many evening exchanges. Challenges: Zaratan is run on a shoe string budget. The lodgings and workspaces are not luxurious, but they were clean and well maintained when I was there. There are not a lot of extras (equipment, space, etc.). If your work requires specialized tools or materials, come with a plan to sort those out on your own. Practical Advice: Push to have your “open studio” work presented in one of the downstairs spaces, either the hallway next to the gallery or the black box/performance space in back, or the courtyard. I ended up with a video installation in the performance space, something I had not done before and learned a lot from. I benefited from arriving with an open mind about what I might make and not too much stuff (art related or otherwise). This helped me think differently and make new work. If you are a light sleeper, earplugs and a white noise app will be useful. The streets outside are quite busy. Costs vs Gains: it was not cheap, but not out of line with the costs of other residencies. Living expenses were affordable once I got there. I grew my practice and way of thinking about my practice by leaps and bounds.

I need to be clear that this review refers specifically to the Open Call for their "Personal Structures 2026" programme. Basically, it's a hybrid residency; you stay where you are and link your studio to a space in Venice during the Biennale in 2026. At the end of the "residency", you go to Venice and show your work. Here's the catch: you pay for your trip. You pay for the shipment of your work. AND, to top it all off - ONE of the works remains the property of DOM. Yep, that's right. Oh, they do generously put you up in a hotel for three nights at their expense. (Overall, it reminded me a bit of the ITSLIQUID style of artist exploitation, and I told them as much.) I decided NOT to pursue this "opportunity" further, but at the same time I felt I needed to leave a review here as a heads-up to other artists who hear/read "Venice Biennale" and lose their proverbial sh*t. Nothing annoys me more than these business models that hinge on the exploitation of artists. (Please note: if the review system requires me to rate areas I have not experienced, I will rate them "3". But i CAN speak to their support.)

I lost an important interview with Sandra, I think that if it wasn’t for that I would have had a better approach to the pieces I worked in.

The staff is amazing, everyone is very heart welcoming and they are very willing to help develop our projects.

Great space to meet other artists and explore Mexico City's cultural spaces. The hosts are so helpful and the space is magical and beautiful. Housing is really comfy and has lots of communal space to hang out at Casa Lü Parque, close to everything from metro to restaurants. There are some great moments for critique with local artists and cultural writers which helps any emerging artist form greater conceptual development of their work. The time goes by quickly even though the residency is 26 days for the shortest one, it is a good challenge for any visual artist to develop work. The other residents were very nice and there was a lot of opportunity to rest as well as work in communal space.

I've recently returned from a month-long stay (Sept 2025) as part of MADE's program in San Miguel de Allende, Mexico. I cannot be effusive enough about my time there! Yesica has created an incredible experience for artists, making her life-long vision and dream come to life, and you can feel the love and dedication to that vision in every single aspect of the program. It was my first ever artist residency program and it was everything I had hoped it would be. Even though it was my first art residency experience, after talking with others who have done half a dozen residencies, I'm so incredibly grateful for my month there with her. It was ~ I learned ~ a unique residency experience because she carefully cultivates relationships with local Mexican artists and artisans and ensures that as a visiting artist, we too get to experience the richness and community of the people and art there. Those connections are what makes it so enriching and special. My two classes that I took were with Mexican artists and artisans and I was learning alongside Mexican students. Having the chance to get to know the community at this level made it an unforgettable experience with connections that will continue well beyond the residency program. I applaud her commitment to weaving our stay there so deeply into the local community, fostering relationships of this kind takes time and dedication and she's done an amazing job. Having been to Mexico several times during my life I knew what to expect as far as comforts and amenities are concerned. Yesica provided a lovely setting where the residents, while having our own rooms, could interact often during our time there. The weekly communal meals were a lovely part of the stay. I've formed friendships that I know will now last a lifetime. Living in a different country, sharing space with others, and navigating a different language and culture can be challenging, it is also a fabulous opportunity to build community, as well as a way to get to know yourself. It's not an experience for just anyone, but as artists it can be a perfect trifecta for enriching ones creative life. If you're looking for a magical and transformative experience where you can focus on your art, connect with other creatives, and be changed forever by the people and culture of Mexico, I highly recommend looking into a stay at MADE.

The director of NARS, Junho, is verbally abusive to his staff and to artists. He micromanages all aspects of the residency and the gallery. Artists are told to ask permission before making even a single hole in their studio walls. Staff were rarely able to answer any questions I had as a resident without first checking with Junho. I have kept in touch with some of the wonderful people I met through NARS, and many have shocking horror stories about how they were treated by Junho. The studios are very noisy and poorly maintained, there is no common space for artists to gather, and very little resources offered to artists. (There are no basic tools available, and artists were asked to purchase their own paint to repaint studio walls before they left, for instance.)

The residency would be better with a longer stay, as mine only lasted two weeks, making it a bit hard to justify. The people there were nice and willing to help. However, I was too ambitious in wanting to work with traditional wood joint techniques, which proved quite difficult given my limited duration and the unfamiliar equipment. I think it was more design-oriented. Overall, I believe the residency provided me with many interesting and memorable influences for my art practice. I do wish I could have stayed a bit longer and not during the summer! :D

The staff is awesome and very resourceful. The residency is well organized and communication is exceptional. I have already recommended the residency to other artists and am very satisfied with my time at Casa Lü. I wish there had been more artists studio visits and maybe a list of workshops artists can take of different techniques in various mediums.