Picha Artist Residency Program - Lubumbashi

Picha Artist Residency Program – Lubumbashi

Program Type: Research & Production Residency
Location: Lubumbashi, Democratic Republic of the Congo
Host Organization: Picha / Ateliers Picha
Disciplines: Visual Arts, Photography, Film, Performance, Multidisciplinary
Duration: Flexible (typically 1-3 months)
Residency Format: Research-focused with production support
Application: Direct inquiry to organization

Program Overview

The Picha Residency Program operates from Lubumbashi, the Democratic Republic of Congo’s second-largest city and the heart of the mineral-rich Katanga region. Since 2014, Picha has invited artists from across Africa and internationally for research and production stays that engage deeply with the social, environmental, and cultural complexities of one of the world’s most resource-contested zones. Unlike conventional artist residencies focused primarily on studio production, Picha emphasizes research-driven practice, community engagement, and artistic responses to urgent questions about extraction, labor, environment, and postcolonial legacies.

Founded in 2008 by a collective including renowned photographer Sammy Baloji and curator Patrick Mudekereza, Picha emerged from recognition that Lubumbashi—despite its crucial position in global mineral supply chains and its rich cultural heritage—had functioned primarily as source material for outside researchers and artists while local creative practitioners struggled for visibility and resources. Picha inverts this dynamic, creating infrastructure that supports Congolese artists while strategically hosting international artists whose work can contribute to broader understanding of the region.

The residency operates within a larger ecosystem of Picha initiatives including the Lubumbashi Biennale (one of Africa’s most experimental art events), Atelier Picha (permanent training program for emerging Congolese artists), Galerie Hangar (local exhibition space), and specialized projects like Makwacha (silk-screening workshop reviving traditional practices). This interconnected structure means residents don’t work in isolation but rather join an active artistic community addressing some of contemporary art’s most pressing concerns through locally-grounded practice.

Lubumbashi itself provides extraordinary context for research-engaged art. The city’s identity centers on mining—copper, cobalt, and other minerals essential to global technologies flow from mines surrounding the city. This extraction has shaped everything: colonial history (Lubumbashi was founded as Belgian mining settlement), economic cycles (boom and collapse patterns linked to global commodity prices), environmental conditions (mining’s devastating ecological impacts), labor relations, urban development, and social structures. Artists working here cannot avoid confronting how resources, power, and human lives interweave in systems connecting Congolese miners to smartphone users worldwide.

Picha particularly welcomes artists whose practices engage social justice, environmental concerns, labor and extraction, postcolonial critique, community collaboration, or experimental approaches to documentation and archiving. The residency provides research support, connections to local communities and experts, access to Picha’s extensive networks, and the intellectual community of an organization recognized internationally for rigorous, politically-engaged cultural work.

Program Objectives

Picha’s residency pursues distinct goals reflecting the organization’s broader mission and Lubumbashi’s specific context:

Support Artistic Creation in DRC:
Provide professional-level support for artistic production within Democratic Republic of Congo rather than requiring artists to emigrate for development opportunities. By establishing credible infrastructure in Lubumbashi, Picha proves that serious contemporary art practice can flourish in challenging African contexts when artists build appropriate support systems.

Promote Artistic and Social Reflection:
Encourage artwork that engages meaningfully with Lubumbashi’s environment—not as exotic backdrop but as complex social, economic, and ecological system worthy of serious artistic inquiry. Picha values artists who approach their practice as form of research capable of producing knowledge alongside aesthetic experience.

Foster International Exchange:
Create substantive encounters between Congolese artists and international practitioners that benefit both groups. International residents gain access to contexts and questions unavailable elsewhere; Congolese artists gain exposure to different working methods, technical approaches, and professional networks. These exchanges should feel reciprocal rather than one-directional.

Build Artistic Infrastructure:
Strengthen the capacity of Lubumbashi’s cultural sector by maintaining year-round programming, supporting emerging artists through training, providing exhibition opportunities, and demonstrating sustainable models for artist-led cultural organizations operating without government funding.

Connect Local Practice to Global Conversations:
Position Lubumbashi artists within international contemporary art discourse, countering marginalization of African practices and ensuring that urgent questions emerging from places like Katanga receive attention they deserve. Mining, extraction, environmental devastation, and resource politics affect the entire world—Picha argues that artistic responses emerging from extraction zones deserve central rather than peripheral status.

Support Experimental Approaches:
Welcome unconventional practices, interdisciplinary work, collaborative methods, and projects that challenge traditional artwork categories. Picha’s association with the biennale (known for experimental programming) means residents join community that values artistic risk-taking.

What the Residency Provides

Research Support:
Unlike primarily studio-focused residencies, Picha emphasizes research as central to artistic practice. This includes:

Access to Picha’s archives and documentation of Lubumbashi’s cultural history
Connections to researchers, academics, and experts working on relevant topics (mining, environmental issues, urban development, cultural heritage)
Facilitated visits to sites relevant to research (with appropriate permissions and safety considerations)
Introduction to community members, workers, activists, or others whose perspectives inform artistic inquiry
Library and digital resources available through Picha and partner institutions

For artists investigating extraction, labor, environment, or postcolonial topics, this research access proves invaluable. Picha staff understand the region intimately and can facilitate connections that would take independent artists months to develop.

Studio & Production Space:
Work areas at Picha facilities suitable for various practices. Studio configurations depend on project needs and residency timing. Lubumbashi lacks art supply infrastructure, so artists should plan to bring specialized materials or work with available resources.

Picha particularly accommodates projects involving:

Photography and video production
Installation and sculpture (outdoor projects possible)
Performance and socially-engaged work
Print-making (Makwacha silk-screening facility available)
Digital media and sound work

Accommodation:
Housing arranged by Picha, typically within Lubumbashi. Specific arrangements vary by residency length and availability. Expect functional rather than luxurious accommodation reflecting local standards—private or semi-private rooms, shared facilities, basic amenities.

Lubumbashi’s infrastructure challenges mean residents should prepare for irregular electricity (power cuts common), variable water pressure, limited internet connectivity, and tropical climate heat. These conditions affect all residents and locals equally—Picha cannot eliminate them but helps residents adapt.

Connection to Artistic Community:
Integration into Lubumbashi’s active artistic network including:

Picha core members: Established artists like Sammy Baloji, Jean Katambayi Mukendi, Georges Senga, and others who work regularly with the organization
Atelier Picha participants: Emerging Congolese artists in training program who bring fresh perspectives and energy
Regional artists: Practitioners from across Katanga and DRC visiting or working with Picha
International partners: Curators, researchers, and artists connected through Picha’s extensive global network

Studio visits, informal critique sessions, collaborative opportunities, and social gatherings facilitate genuine exchange rather than superficial networking.

Exhibition & Presentation Opportunities:
Potential to show work developed during residency through:

Galerie Hangar: Picha’s exhibition space for completed work
Lubumbashi Biennale: If residency timing aligns with biennale preparation/programming (biennales typically occur every 2-3 years)
Work-in-progress presentations: Artist talks or open studios sharing research and process
Partner venues: Picha’s relationships with Institut Français Lubumbashi, National Museum Lubumbashi, and other local institutions sometimes create additional exhibition possibilities

Professional Development:
Depending on residency timing, participation in:

Atelier Picha workshops: When international experts visit to lead training sessions, residents may observe or contribute
Biennale programming: Lectures, symposia, professional meetings during biennale periods
Partner exchanges: Opportunities emerging from Picha’s collaborations with Gasworks, Sharjah Art Foundation, Market Photo Workshop, Raw Material Company, and others

Technical Resources:
Access to equipment and facilities Picha maintains:

Makwacha silk-screening workshop: For textile and print-based projects
Basic photography and video equipment: Available based on project needs and availability
Digital tools: Computers, editing software (limited by Lubumbashi’s technology access)
Archive materials: Documentation of previous biennales, artist works, research materials

Networking & Connections:
Perhaps most valuably, connection to Picha’s remarkable international network built over 15+ years. This includes:

Leading African art institutions (Market Photo Workshop Johannesburg, Raw Material Company Dakar, others)
Major international organizations (Sharjah Art Foundation, Gasworks London, Art Hub Asia Shanghai)
Universities and research centers studying African art, extraction, or related topics
Curators, critics, and collectors interested in socially-engaged African practice
Other African and international artist-run spaces

These connections frequently lead to exhibition opportunities, collaborative projects, or future residencies elsewhere in the network.

Residency Structure & Duration

Duration Options:
Picha’s residencies typically span one to three months, with specific length negotiated based on:

Project scope and research requirements
Artist availability and scheduling
Picha’s calendar and other programming
Funding or partnership arrangements

Shorter intensive residencies (2-4 weeks) sometimes possible for artists with very focused projects or limited time, though Picha generally prefers longer stays allowing deeper engagement.

Research-Production Balance:
Unlike pure studio residencies, Picha’s program balances:

Initial Research Phase: First weeks often emphasize:

Orientation to Lubumbashi’s geography, history, and social dynamics
Meetings with community members, experts, or stakeholders relevant to project
Site visits to locations significant to research
Archive investigation and documentation review
Relationship building with local artists and Picha community

Production Phase: Middle period typically shifts toward:

Studio work incorporating research insights
Experimentation with materials and approaches
Collaborative development if project involves local participants
Technical production with available resources

Presentation/Synthesis Phase: Final period may include:

Completing work for presentation or documentation
Artist talks or presentations sharing research findings
Open studio or informal showings
Planning next steps or ongoing collaboration

This structure isn’t rigid—artists develop rhythms suited to their working methods—but it reflects Picha’s research-engaged philosophy.

Self-Direction with Support:
Residents work independently rather than following prescribed schedules. However, Picha staff remain available for:

Logistical support and problem-solving
Facilitating connections and introductions
Providing cultural context or historical information
Discussing work development and offering feedback
Connecting residents to resources or opportunities

The residency expects artists to be self-motivated professionals capable of managing their own time and projects while taking advantage of support structures when helpful.

Integration with Picha Programming:
Residents participate in ongoing Picha activities:

Attending openings, events, or programs Picha organizes
Meeting visiting artists, curators, or partners who come through Lubumbashi
Contributing to discussions or critique sessions with Atelier Picha participants
Potentially assisting with biennale preparation if timing aligns

This integration prevents isolation and ensures residents experience Picha as active organization rather than merely facility provider.

Special Programs & Initiatives

Picha residencies often connect to larger thematic projects or specialized initiatives:

On-Trade-Off Research Project:
Long-term artistic research trajectory initiated by Picha and Enough Room for Space (Brussels) investigating lithium extraction and “green energy” transitions. This project examines how materials essential for electric vehicles and renewable energy technologies come from destructive mining in places like DRC, exploring contradictions in global “sustainability” discourse.

Artists working on projects related to extraction, energy, environment, or technology may find rich collaboration opportunities through this ongoing research network.

Makwacha Silk-Screening Workshop:
Specialized facility for textile production and printing that:

Revives traditional mural painting practices existing across Congo regions
References local textile traditions (like Kuba velvet)
Integrates these heritage practices into contemporary artistic approaches
Provides community-engaged production space

Artists interested in printmaking, textiles, or collaborative community work can access this facility during residencies.

Biennale Preparation & Participation:
The Lubumbashi Biennale (Rencontres Picha) occurs every 2-3 years as one of Africa’s most experimental and dynamic art events. Residencies timed near biennale periods might involve:

Assisting with curatorial research or biennale preparation
Contributing to biennale programming as participating artist
Observing and learning from biennale’s ambitious multidisciplinary approach
Networking with international artists, curators, and cultural professionals who attend

Even when residencies don’t coincide with biennale events, the biennale’s legacy influences Picha’s culture and approach.

Atelier Picha Collaboration:
Picha’s permanent training program supports emerging Congolese artists through workshops, mentorship, and project development. International residents sometimes:

Offer workshops sharing specific technical skills
Participate in critique sessions with Atelier participants
Collaborate with emerging artists on joint projects
Learn from Atelier participants’ perspectives on Congolese context

These exchanges should feel reciprocal—international residents aren’t positioned as teachers but as artists at different career stages who can share and learn from each other.

Partner Institution Exchanges:
Through relationships with organizations like Sharjah Art Foundation, Market Photo Workshop, Gasworks, and others, Picha occasionally facilitates:

Joint residencies where artists work in Lubumbashi then continue at partner institution
Collaborative projects involving artists from multiple network organizations
Professional development programs bringing international experts to Lubumbashi
Exhibition circuits showing work across multiple venues

Eligibility & Application Process

Who Should Apply:

Picha seeks artists who:

Demonstrate Research-Engaged Practice:
Your work should involve serious investigation—historical research, social engagement, environmental study, theoretical inquiry—not just formal experimentation. Picha values artists who understand their practice as producing knowledge alongside aesthetic objects.

Connect to Picha’s Concerns:
Projects addressing extraction and resources, labor and economy, environment and ecology, postcolonial critique, urban development, cultural heritage, community collaboration, or experimental documentation align well with Picha’s mission.

Show Professional Development Level:
Emerging and mid-career artists who have exhibited publicly, developed coherent artistic vision, and demonstrated capacity for independent work. Complete beginners or hobbyists generally unsuitable given residency’s intensity and resource limitations.

Possess Cultural Sensitivity:
Ability to work respectfully across cultural difference, avoid colonial attitudes, engage Congolese artists as peers and potential collaborators, and recognize that you’re entering as visitor to their context.

Can Work with Constraint:
Adaptability when facing limited resources, infrastructure challenges, or situations that don’t match Western expectations. Lubumbashi rewards resourcefulness and punishes rigid attachment to ideal working conditions.

Demonstrate Social Engagement:
While not every project must be community-based, Picha values artists interested in how art connects to social questions and willing to engage beyond pure studio practice.

Disciplinary Scope:

Visual arts (all media)
Photography and video
Performance and socially-engaged practice
Multidisciplinary and experimental work
Curators and researchers (for curatorial/research residencies)
Filmmakers working on documentary or experimental film
Sound artists and experimental musicians

Picha’s experimental ethos means unconventional practices often welcome if proposals demonstrate rigor and connection to place.

Application Process:

Picha operates through direct inquiry rather than fixed public application cycles. To apply:

Initial Contact:
Email Picha expressing interest in residency. Include:

Brief introduction to your practice (2-3 paragraphs)
Why you’re specifically interested in working in Lubumbashi
Potential timing preferences
Request for current residency availability and application requirements

Full Application Typically Includes:

Artist Statement: 1-2 pages describing your practice, research interests, thematic concerns, and working methods

Portfolio: 10-20 images of recent work with titles, dates, dimensions, materials. Video links for time-based work. Installation views when relevant.

Project Proposal: 2-3 pages outlining:

Research questions motivating your residency
Specific interest in Lubumbashi context (demonstrate actual knowledge of the place, not generic “Africa”)
What you hope to investigate or produce
How you’ll engage with local community or Picha programs
Proposed duration and timing

CV: Standard professional history including exhibitions, residencies, education, awards, publications

References: Contact information for 2-3 people who can speak to your practice and professional conduct

Budget/Funding Information: Explanation of how you’ll support yourself financially (Picha provides accommodation and some production support but limited financial assistance for living costs)

Review & Selection:
Applications reviewed by Picha artistic directors and core members. Selection considers artistic quality, project feasibility and relevance to Lubumbashi, potential for meaningful exchange, timing/capacity, and cultural sensitivity.

Response times vary given Picha’s small staff and multiple programs. Expect 2-6 weeks for initial response after submission.

Costs & Financial Considerations

What Picha Provides:

Accommodation arrangements
Studio/work space access
Research support and local connections
Basic production support
Integration into Picha programming

What Artists Cover:

International travel
Visa fees
Living expenses (food, local transport)
Materials and specialized equipment
Personal expenses
Travel/health insurance

Estimated Costs:

Lubumbashi tends slightly less expensive than Kinshasa but still presents costs:

One-Month Residency:

Visa: $100-200
Flights: $1,000-2,500 (depending on origin)
Living expenses: $600-1,200
Materials: $200-500
Insurance: $100-200
Misc./emergency buffer: $300-500
Total: $2,300-5,100

Three-Month Residency:

Visa: $150-300
Flights: $1,000-2,500
Living expenses: $1,800-3,600
Materials: $400-1,000
Insurance: $250-500
Misc./emergency buffer: $800-1,500
Total: $4,400-9,400

Funding Strategies:

Many successful Picha residents secure external funding through:

National arts councils (funding international professional development)
Cultural exchange organizations (Goethe-Institut, Pro Helvetia, British Council, etc.)
Research grants (if affiliated with university)
Private foundation artist grants
Institutional support (galleries, museums)
Collaborative funding (partner organizations co-funding exchange)

Picha’s strong international network means the organization sometimes facilitates funding through partner institutions, but applicants should not assume financial support—demonstrate capacity to self-fund or arrive with confirmed external funding.

About Picha & Lubumbashi Context

Picha’s History & Evolution:

Founded 2008 after organization of first Lubumbashi Biennale, Picha emerged from collective vision of Congolese artists, filmmakers, photographers, performers, and cultural entrepreneurs who recognized Lubumbashi’s creative vitality but lacked infrastructure to support and showcase it.

The name “Picha” means “picture” or “image” in Swahili, reflecting photography and visual documentation’s importance to the organization’s work. However, Picha’s scope expanded to encompass all contemporary art forms, with particular emphasis on practices engaging social and environmental concerns.

Co-founders and Leadership:

Sammy Baloji: Internationally acclaimed Lubumbashi-based photographer whose work investigates colonial legacies, industrial archaeology, and environmental devastation caused by mining. Baloji’s practice exemplifies Picha’s values—rigorous historical research combined with visually powerful artistic output that circulates globally while remaining rooted in local context.

Patrick Mudekereza: Curator and cultural producer who has shaped Picha’s intellectual and institutional development. Mudekereza’s curatorial vision emphasizes artistic activism, experimental approaches, and creating platforms for marginalized voices.

Collective Structure: Rather than hierarchical leadership, Picha operates through collaborative decision-making among core artist-members and staff. This structure reflects commitment to artist-led cultural infrastructure.

The Lubumbashi Biennale:

The biennale remains Picha’s most visible program—a major international contemporary art event that has established Lubumbashi on global art map. Recent editions have explored themes like:

“Toxicity” (2022): Examining toxicity as condition of existence and its effects on societies
“Éblouissements/Bedazzlements” (2017): Exploring overwhelming stimuli and hallucinatory aspects of contemporary experience

The biennale occupies multiple venues across Lubumbashi (National Museum, Institut Français, galleries, outdoor spaces) and brings together Congolese, African, and international artists for month-long programming including exhibitions, performances, workshops, symposia, and public interventions.

Picha’s Artistic Activism:

The organization describes its work as “artistic activism”—art practice deliberately engaged with social, environmental, and political concerns rather than art-for-art’s-sake aestheticism. This activism manifests through:

Documenting mining’s environmental devastation
Investigating colonial histories still shaping present conditions
Creating platforms for marginalized communities’ voices
Challenging extractive relationships between Congo and Global North
Building sustainable cultural infrastructure despite resource scarcity

Lubumbashi: The Mining Capital:

Understanding Lubumbashi requires grasping mining’s total dominance of city identity:

Colonial Foundation: Belgians founded Lubumbashi (originally Élisabethville) in 1910 as purpose-built mining settlement. The city exists because of copper deposits discovered in surrounding area. Unlike cities evolving organically over centuries, Lubumbashi was planned and constructed to extract minerals.

Economic Cycles: City fortune rises and falls with global commodity prices. When copper prices high, relative prosperity; when prices crash, devastating unemployment and poverty. This boom-bust pattern shapes everything from infrastructure investment to social dynamics.

Mining Companies: Major corporations (historically Union Minière du Haut Katanga, now various companies including Glencore operations) function almost as parallel governments, controlling vast territories, employing thousands, and exerting political influence.

Environmental Devastation: Mining creates extraordinary pollution—toxic waste, air quality problems, water contamination, soil degradation. Residents live amid visible environmental destruction rarely acknowledged by those benefiting from mined minerals globally.

Labor Conditions: Despite generating billions in mineral wealth, most mine workers earn minimal wages working in dangerous conditions. This labor exploitation—where Congolese workers risk their lives extracting materials enriching foreign corporations and consumers—represents ongoing postcolonial exploitation.

Urban Character: Lubumbashi feels distinctly different from Kinshasa—smaller (about 2.5 million people), more manageable, with clearer colonial architecture still visible. The city has industrial character reflecting mining economy. Less culturally dominant than capital but hosts vibrant artistic community precisely because artists address unique local conditions.

Cultural Institutions:

National Museum Lubumbashi: Important cultural institution with collections spanning Katanga’s history
Institut Français Lubumbashi: French cultural center hosting exhibitions, films, concerts
Institut des Beaux-Arts: Art school training visual artists
Halle de l’Etoile: Performance venue
Various cultural spaces: Where Picha and others organize programming

Climate & Practical Realities:

Lubumbashi sits at higher elevation than Kinshasa (about 1,200m), making climate slightly more temperate though still tropical. Dry season (May-September) and rainy season (November-March) affect working conditions and mobility.

Infrastructure challenges similar to Kinshasa: unreliable electricity, limited internet, variable water, rough roads. However, smaller scale means city feels more navigable. French and Swahili primary languages, with some English among educated professionals but not widely spoken.

Security situation generally more stable than Kinshasa, though standard precautions necessary. Eastern DRC conflict zones far from Lubumbashi, making city relatively safe despite broader national instability.

Notable Picha Residents & Projects

Recent International Residents:

Francis Alÿs (2021): Renowned Belgian-Mexican artist known for poetic, politically-engaged work spent time in Lubumbashi developing projects engaging local context. Alÿs’s residency demonstrates Picha’s ability to attract major international figures.

Nicole Rafiki (2021): Artist working at intersections of identity, migration, and belonging.

Numerous African Artists: From Uganda, South Africa, Nigeria, Senegal, and across continent, reflecting Picha’s pan-African orientation.

European Artists: German, Belgian, Dutch, and other European artists through partnerships with cultural organizations.

Collaborative Research Projects:

On-Trade-Off (with Enough Room for Space, Brussels): Multi-year investigation of lithium extraction involving Jean Katambayi Mukendi, Georges Senga, Daddy Tshikaya, and international collaborators. This project has generated exhibitions, publications, artworks, and ongoing research examining contradictions in “green energy” discourse that depends on destructive mining.

Institute of Colonial Culture (with Enough Room for Space): Archive project collecting objects, documents, photographs representing colonial presence in Congo, scheduled to open at National Museum Lubumbashi. This ambitious project involves Nelson Makengo and other Congolese artists investigating colonial legacies through creative research.

International Partners

Picha’s network spans continents, creating remarkable opportunities for residents:

Africa:

Market Photo Workshop (Johannesburg) – Photography training
Raw Material Company (Dakar) – Research and residency center
Yole Africa (Goma, DRC) – Cultural organization in eastern Congo
DL Multimedia (Lubumbashi) – Local media partner

Europe:

Gasworks (London) – Leading artist residency and exhibition space
Enough Room for Space (Brussels) – Artist-run initiative
Framer Framed (Amsterdam) – Platform for art and cultural exchange
Triangle Network (London) – International artist network
Institut Français network – French cultural institutions across Africa

Middle East:

Sharjah Art Foundation (UAE) – Major contemporary art institution

Asia:

Art Hub Asia (Shanghai, China) – Contemporary art platform

Americas:

Universidad Distrital de Colombia (Bogotá) – University partnerships

These partnerships facilitate artist exchanges, co-productions, exhibition circuits, professional development, and sustained international engagement for both Picha and visiting residents.

Preparing for Lubumbashi Residency

Research & Study:

Essential Reading:

“King Leopold’s Ghost” by Adam Hochschild – Colonial Congo history
“Dancing in the Glory of Monsters” by Jason Stearns – Contemporary DRC conflicts
Sammy Baloji’s published works and exhibition catalogs
Academic articles on Katanga mining, environment, labor
Lubumbashi Biennale documentation and catalogues

Visual Research:

Study work by Picha core members and past residents
Watch documentaries about Congolese mining, labor conditions
Review Lubumbashi Biennale documentation
Research colonial photography of Katanga region

Contextual Understanding:

Learn about specific minerals mined in Katanga (copper, cobalt, coltan, others)
Understand how these minerals connect to global technologies (smartphones, electric vehicles, renewable energy)
Research environmental impacts of mining
Study labor conditions and economic structures

Language Preparation:

French essential for Lubumbashi—even more than Kinshasa, given Lubumbashi’s smaller expatriate community and less English exposure. Swahili useful for daily interactions, though French works across most situations.

Start intensive French study months before residency. Basic Swahili phrases helpful for showing cultural respect and building rapport.

Health Preparation:

Same precautions as Kinshasa:

Travel medicine consultation 8+ weeks before departure
Required vaccinations (yellow fever mandatory)
Antimalarials for malaria prevention
Comprehensive travel/health insurance including medical evacuation
First aid kit with personal medications

Lubumbashi has limited medical facilities. Serious conditions require evacuation to South Africa or Europe—hence insurance criticality.

Material Planning:

Lubumbashi has minimal art supply infrastructure. Bring:

Essential materials you can’t source locally
Specialized equipment for your practice
Backup supplies assuming replacements unavailable
Tools and consumables

Budget for material costs or plan projects using locally available resources. Improvisation often becomes creative necessity.

Mental/Emotional Preparation:

Lubumbashi challenges residents through:

Confronting extreme environmental destruction firsthand
Witnessing poverty amid mineral wealth generating billions elsewhere
Navigating complex postcolonial dynamics as likely Global North visitor
Working in context with limited resources and infrastructure
Managing intense heat, irregular services, isolation from familiar support systems

Consider these challenges honestly. Speak with artists who’ve done African residencies about coping strategies. Ensure you have emotional support systems even from distance.

During Your Residency

Engaging Lubumbashi:

Mining Context: If your work addresses extraction, environmental issues, or labor, Picha can potentially facilitate access to:

Abandoned mine sites (with safety and permission considerations)
Mining industry experts or critics
Labor organizations or workers (carefully navigated)
Environmental researchers studying impacts
Community members affected by mining

These connections require cultural sensitivity and ethical clarity about your intentions and how you’ll represent people and situations.

Research Methods: Many successful Picha residents combine:

Archival research (colonial documentation, industrial records, photographic archives)
Field visits and documentation
Interviews and oral histories
Collaborative work with local communities
Material investigation (working with local resources, industrial remnants, found objects)

Collaborative Approaches: Picha values artists who engage local artists as collaborators rather than subjects or assistants. Consider:

Joint projects with Congolese artists
Skill-sharing workshops
Collective research initiatives
Performance or installation collaborations

Respecting Community: If your work involves community engagement:

Invest time building trust before requesting participation
Be transparent about your intentions and how work will be used
Ensure communities benefit from participation (skills, employment, visibility)
Obtain informed consent, especially for photography/video
Consider how your representation of people/places affects their lives

Working Rhythm:

Lubumbashi’s smaller scale means you can:

Walk or bike to many locations (unlike sprawling Kinshasa)
Access Picha facilities easily
Meet with people more efficiently
Explore city systematically

However, challenges remain:

Heat affects energy and working capacity
Power cuts interrupt technical work
Limited entertainment/distraction means intense focus on project
Isolation from familiar support systems can feel acute

Develop routines balancing focused work with rest, social connection, and self-care.

Documentation:

Document extensively:

Photograph research process, site visits, materials, experiments
Keep detailed journals capturing thoughts, encounters, insights
Record audio when appropriate (with consent)
Video document works that won’t travel

This documentation proves invaluable for processing experience and creating future work even after residency ends.

After Your Residency

Maintaining Picha Connection:

Stay engaged with Picha after residency:

Follow their programming and share opportunities
Maintain relationships with Congolese artists you met
Consider returning for biennale or future collaboration
Share relevant opportunities (exhibitions, residencies, funding) that accept Congolese artists
Amplify Picha’s work through your networks

Ethical Considerations:

If your residency research appears in future work:

Representation: Avoid simplistic, exploitative, or stereotypical representations of people, places, or situations. Lubumbashi deserves nuanced portrayal acknowledging complexity.

Credit & Compensation: If local collaborators contributed to your work, credit them appropriately. If work sells or generates income, consider how collaborators might benefit.

Long-term Relationships: If you documented people or communities, maintain contact and share how their participation developed into final work.

Context Provision: When exhibiting work emerging from residency, provide sufficient context so audiences understand Lubumbashi’s specificity rather than treating it as generic “Africa.”

Critical Self-Reflection: Consider your positionality—what gave you access to this residency? How does your privilege shape what you saw and made? What responsibility accompanies this privilege?

Continued Advocacy:

Use your platform to:

Raise awareness of issues you encountered (environmental destruction, labor exploitation, postcolonial dynamics)
Challenge simplistic narratives about Congo or Africa
Advocate for policies that address extraction’s harms
Support Congolese artists and cultural organizations
Educate audiences about connections between their consumption and Congolese realities (phone minerals, electric vehicle cobalt, etc.)

Frequently Asked Questions

How does Picha differ from Kin ArtStudio?
While both offer residencies in DRC, they have distinct characters:

Location: Picha in Lubumbashi (mining city, smaller, industrial), Kin ArtStudio in Kinshasa (capital, massive, cultural hub)
Focus: Picha emphasizes research and social engagement; Kin ArtStudio more general contemporary practice
Network: Picha has exceptionally strong international institutional partnerships
Programming: Picha connects to biennale, training programs, specialized projects; Kin ArtStudio more focused on studio provision
Context: Lubumbashi offers unique access to extraction/mining questions; Kinshasa offers urban intensity and musical/performance culture

Must my work address mining or extraction?
No, but your project should connect meaningfully to Lubumbashi’s context in some way. Many themes work—environment, labor, postcolonial critique, urban development, community engagement, experimental documentation. What doesn’t work: treating Lubumbashi as generic backdrop or exotic location disconnected from your actual artistic concerns.

Can I participate in the biennale?
Possibly, if residency timing coincides with biennale preparation or programming. The biennale has its own curatorial process, so residency doesn’t guarantee inclusion. However, being in Lubumbashi during biennale periods offers extraordinary professional development and networking even without direct participation.

How dangerous is Lubumbashi?
Lubumbashi is generally safer than Kinshasa and far from Eastern DRC conflict zones. Standard urban safety precautions necessary (don’t display wealth, be aware of surroundings, follow local advice about neighborhoods and times to avoid). The mines themselves can be dangerous—never visit mining areas without proper permissions, guide, and safety equipment.

What about visiting mines or industrial sites?
This requires careful coordination. Active mines are controlled by companies that don’t welcome casual visitors. Abandoned sites may be accessible but involve safety risks. Picha can potentially facilitate visits through their networks, but don’t assume automatic access. Many artists work with mining themes through historical archives, community interviews, or found materials rather than direct mine access.

Will I meet Sammy Baloji or other prominent artists?
Possibly, depending on their schedules and your residency timing. Picha’s core members are active working artists who travel internationally, so availability varies. However, you’ll certainly connect with the broader Picha community including emerging artists, local practitioners, and whoever else is working with Picha during your stay.

Can I bring collaborators or work as duo/collective?
Discuss with Picha. They’ve hosted individual artists primarily but may accommodate collaborations that make sense programmatically. Funding, accommodation, and logistical considerations affect feasibility.

What if my project doesn’t produce exhibitable objects?
Picha welcomes research, performance, social practice, documentation, and other approaches that don’t result in traditional artworks. Be clear in your proposal about your working methods and intended outcomes.

How involved should I be in Atelier Picha or other programs?
Balance your project needs with generous engagement. Offer workshops or skills-sharing if you have relevant expertise, but don’t feel obligated to constant teaching. Focus on reciprocal exchange rather than either pure isolation or exhausting over-commitment.

Contact Information

Website:
biennaledelubumbashi.com

Social Media:
[Research current handles – Instagram, Facebook likely primary platforms]

For Residency Inquiries:

Email with subject line “Residency Inquiry – [Your Name]”

Include:

Brief introduction (1-2 paragraphs about your practice)
Statement of interest in Lubumbashi specifically
Proposed timing or timeframe
Request for current application requirements

Response Timeline:

Allow 2-4 weeks for initial response. If you haven’t heard within a month, polite follow-up appropriate. Remember Picha operates with small staff managing multiple programs—patience appreciated.

Best Timing for Applications:

Apply 6-12 months before desired residency dates. This allows time for:

Application review and acceptance
Visa processing
Travel arrangements
Logistical coordination
Funding applications if needed

Note on Biennale Schedule:

If you hope to experience the Lubumbashi Biennale, research current scheduling. Biennales typically occur every 2-3 years but exact timing varies. Plan residencies for biennale periods well in advance as interest increases significantly.

Last Updated: January 2026

This information compiled from available documentation, published materials, and organizational websites. Confirm all details directly with Picha when applying, as programs, partnerships, and specific offerings evolve over time. The organization’s website and current communications provide most up-to-date information.