DOM Art Residence launches a digital residency during Personal Structures 2026 in Venice

A Barcelona-based initiative brings live artistic processes into the exhibition space at Palazzo Bembo.

DOM Art Residence, a Barcelona-based platform, will launch its first digital residency this May as part of Personal Structures 2026 in Venice. The six-month program, titled Accepted Without Review, brings together international artists while sharing their creative process live with the public.

While the project unfolds in Venice, its format reflects a broader shift that also resonates locally: more artists working across cities, maintaining independent studios, and participating in international programs without relocating. It’s a model increasingly familiar to artists based in Barcelona and its surrounding ecosystem.

Less “final piece on a wall,”
more “what’s actually happening in the studio.”

Running from May to November 2026

The project takes place inside Palazzo Bembo, one of the main venues of the exhibition. Rather than presenting finished works from the outset, the residency focuses on what usually remains unseen: the development of ideas, the uncertainty of early stages, and the evolution of artistic thinking over time.

At the centre of the installation is a reconstructed shipping container. Inside, a large screen broadcasts live streams from the studios of participating artists, allowing visitors to follow their work as it happens — from initial sketches to completed pieces. As works are finalised, they are physically transported to Venice and incorporated into the space, gradually transforming it into an evolving archive.

The program opens with two artists whose practices move in very different directions. Laolu Senbanjo, known for his multidisciplinary work across visual art, music, and performance, brings a highly recognisable visual language shaped through collaborations with figures such as Beyoncé and Alicia Keys. Alongside him, Jenia Granilshchikov presents a more research-driven approach, working across video, drawing, and sound, with a focus on memory and temporality.

The residency is structured around the curatorial concept “Accepted Without Review.” Rather than relying on selection processes or predefined criteria, the project proposes a model based on trust — where artistic practices are not filtered but presented as they are, with the process itself becoming the central element.

Participating artists remain in their own studios throughout the program, working within their everyday environments while contributing to a shared, distributed exhibition. This decentralised approach mirrors how many artists today operate between cities like Barcelona, Berlin, and Paris — building practices that are both local and networked.

Over time, the container space in Venice becomes both a display and a record, capturing not only finished works, but the duration, repetition, and experimentation behind them.

Alongside the installation, the residency is integrated into the wider Personal Structures program, including exhibition visibility, catalogue inclusion, and a series of professional encounters. At the end of the six months, all participating artists will gather in Venice for a final series of meetings and presentations.

A residency built on process, not outcomes

Watching someone work is usually the part you don’t get to see. Here, it’s the whole point. This new format shifts attention away from finished work and towards the time and uncertainty behind it. It also reflects a way of working that feels increasingly familiar — artists based in one place, but operating across multiple contexts at once.