Cherise Ward is now at Falmouth University, England

Artwork by Cheris Ward

In May 2014, Cherise Ward undertook a residency at Fresh Milk for a month developing her illustrations and puppet making. We are pleased to share the good news that Cherise has just begun a postgraduate program at Falmouth University in England where she will spend the next year in their MA Illustration program. Read more below from Cherise:

The Falmouth School of Art Post graduate Centre
I made the decision to study MA Illustration: Authorial Practice at Falmouth University because I wanted a different experience than that of studying in New York City, which was where I got my undergraduate degree at the School of Visual Arts in Manhattan. Falmouth university is located in Cornwall, England and I am attracted to the diverse, one year, Illustration programme. This is my first time in England, and I’m looking forward to doing a lot of exploring and experimenting, expanding on ideas I developed during my residency at Fresh Milk, as well as new ideas inspired by this new environment. So far, I have experienced orientation trips to Eden Project as well as St.Ives, explored the beautiful little shops in Falmouth town and seen the beach on both a clear day and a heavily foggy day. I’m excited to get started and for what this coming year will bring.

Telling our Stories: Achille Brice & Eka Christa Assam

On September 3, 2014, former Akademie Schloss Solitude resident Achille Brice and fellow filmmaker Eka Christa Assam presented the German premiere of three film shorts – I.C.U., I-BEMSI and Beleh – at Generationshaus, Stuttgart. Barbadian artist and writer Katherine Kennedy, who is currently in residence at the Akademie acting as a correspondent between the Caribbean and the community here, spoke with them after the screening. The conversation provided an opportunity to discuss not only the works themselves, but the larger context in which they function in Cameroonian society. Through a series of questions, observations and personal anecdotes, cultural exchanges occurred, emphasizing the importance of perspective in both the telling and appreciation of a story.

Read the interview originally conducted for the Akademie Schloss Solitude Blog below:

The German premiere of I.C.U., I-BEMSI and Beleh. Premiere pictures courtesy of Eka Christa Assam.

The German premiere of I.C.U., I-BEMSI and Beleh. Premiere pictures courtesy of Eka Christa Assam.

Katherine Kennedy: Can you begin by telling me about your background in acting/filmmaking, and the context you are working out of in Cameroon; is there already an industry you are situating yourself in, or is it now emerging?

Eka Christa Assam: I actually studied accounting after high school, but I always wanted to act. At some point I dropped out, and after a year or two I got my first movie role in 2006. After being in a couple of films, I realized I wasn’t interested in the kind of scripts that came my way. In Cameroon, the film industry is still trying to find its feet, especially the English speaking section. Many filmmakers try to copy what Nollywood – the Nigerian film industry – is doing, which is mostly home videos for entertainment that don’t follow cinematic techniques, and I wanted more from the genre. I felt that film was tool we could use to address some of the issues we are facing in our country.

Eka Christa Assam

Eka Christa Assam

After a while I tried writing and directing my first short – but that didn’t even make it out of post. It was very hard because I hadn’t been to film school, I had no experience. I tried to read up on it but I don’t think I was quite prepared yet. I tried to get books on filmmaking, looked for information online and studied lots of Western films. Then I met Achille, who had been here at Akademie Schloss Solitude, and he was kind of like a mentor. He gave me pointers and sources for material, and he helped me with the second short, Doormat, which was 6 minutes long. With that piece I got accepted into the Durban Talent Campus 2012.

The second project we worked on was Beleh, which has been doing really well. It’s been screened at 12 festivals to date and won best short film at the ZAFAA African Film Academy Awards in London in 2013 and got a jury mention at the Africa International Film Festival (AFRIFF) in Nigeria. It’s a slow process, but it’s picking up – the more you do, the more you improve, and because we have no formal training we learn on the job. It’s a bit of a struggle, but now that our work is getting out there and we’re getting opportunities to interact with other artists, we’re learning from them, getting inspired by their work, and approaching our own work from a different perspective.

Achille Brice

Achille Brice

Achille Brice: In terms of coming into the industry, I wasn’t even sure I wanted to be a film artist at first. I started as more of a recording artist and I was editing pictures for fun part time. A Cameroonian director had seen some of my work, and approached me in 2003 to suggest I try my hand at video editing. The first movie I ever edited was feature length; it was chaotic, but it was an amazing experience and ever since then I have been doing a lot of homework, trying to gain experience. I was lucky to be selected for the Durban Talent Campus in 2008, and in the same year selected for the Berlinale Talent Campus in Germany, so I think those were turning points in my artistic career. I got to meet professionals that have been in the industry for a long time, network and share ideas. I think that was a source of motivation.

Being able to manipulate scenarios, in a sense giving meaning to nothing, is what brought me to the industry. As Eka said, I discovered it was a platform where I could pick out relevant topics, and use video to break a barrier that other genres cannot really cross in the same way. I would say the artistic scene in Cameroon, especially in film, is slow because there are no real film institutions. If you want to become an artist you have to take the initiative in educating yourself.

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KK: Given that the industry is still in its latent phases, did that lead to the founding of BinAm Studios? What are some of the obstacles you’ve had to overcome?

AB: There is a problem with movie financing because a lot of investors don’t want to put their money into a sector where nobody has had formal training, but I think it’s a necessary risk to invest in and encourage talent. BinAm Studios was created as a platform to celebrate our own, because the general population of Cameroon tends to embrace foreign products. Sometimes when we do movies, people say that we’re copying Nigeria, but we’re trying to tell our own stories. It’s a gradual process; first we have to prove our worth, and then we can use this platform to showcase ourselves so that Cameroonians and those living in the diaspora know that things like this can happen in our own home. I founded BinAm Studios to cultivate this field while exposing our best. We have amazing actors, directors and producers who don’t get recognition because people think moviemaking is just a part time thing, but for me moviemaking is my saviour. It’s where I found my home.

ECA: Film is more than a hobby – it’s a passion and a profession, and you have to find that balance. Too many people do it for the wrong reasons. They may not even be finished editing the first draft, and they’re already starting on the promotion because they want their friends to know they will be on camera. They’re in a hurry to get it out there – but why are they doing it? The reason determines how well it is done. I feel that, as much talent as we have – and there are so many talented Cameroonians – once your attitude gets tainted, your whole art will crumble. And that is one of the biggest problems in our industry. We don’t have a market for our films yet, so the challenge is for us to be able to find our own voice and style, and make the public believe in our ability to present unique content.
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Article featured in the Cyprus Dossier: Notions of common/wealth versus single/wealth

The 7th edition of the Cyprus Dossier, launched this summer during the International Artist Initiated project hosted by the David Dale Gallery in Glasgow, Scotland, featured an article titled ‘Notions of common/wealth versus single/wealth‘ written by Fresh Milk‘s founding director Annalee Davis. Read the piece below:

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“Global art is not only polycentric as a practice, but also demands a polyphonic discourse. Art history has divided the world, whereas the global age tends to restore unity on another level. Not only is the game different: it is also open to new participants who speak in many tongues and who differ in how they conceive of art in a local perspective. We are watching a new mapping of art worlds in the plural which claim geographic and cultural difference.”[1]

The Fresh Milk Art Platform Inc., founded in 2011, is located on a dairy farm on the island of Barbados in the Southern Caribbean. We are one of several artist-led initiatives continually emerging across the archipelago supporting contemporary art production and the shaping of critical communities in the region. The local contexts these Caribbean artist networks respond to is the lack of formal institutions to meet artists’ needs, such as a national art gallery or a museum of contemporary art with a mandate to support the production, discussion and visibility of contemporary practice.

Artists in the region are functioning in an arena with relatively small local audiences, underdeveloped primary art markets and, in most cases, non-existent secondary markets for contemporary art works with very few spaces to exhibit. A challenge this poses is that much of the artwork produced in the region is exhibited, appreciated and valued outside of the region where more developed creative environments function, creating a gap between artists and their domestic audiences. Artist-led initiatives have been working to bridge this gap by creating opportunities for creatives to engage with local audiences.

Fresh Milk responds by (i) offering residencies for local artists to produce work and nurture critical thinking, (ii) expanding the reading room to acquire material focusing on contemporary practice from within the region and around the world, not available anywhere else on the island, (iii) activating the reading material through establishing mentoring opportunities for young people who write critical reviews of the book collection shared through the Tumblr page – Fresh Milk Books – The books that make us scream!, and (iv) staging public events providing local audiences and artists moments to engage with each other, along with other activities.

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While recognizing the importance of nurturing the local environment, Fresh Milk is equally committed to participating in larger and more diverse conversations regionally. Common obstacles rippling throughout the region’s creative sectors act as unifiers, giving rise to geographical connections among artists across the Caribbean who share in these frustrations and resulting in the formation of many of these artist-led initiatives and collaborations.

Fresh Milk’s online interactive mapping project reconfirms our regional identity and functions as a transnational exercise demonstrating the presence of a myriad of arts entities across the Caribbean from the nineteenth century till now – refuting the fact that we are a divided space as determined by former colonizers who used dominant languages to separate the region linguistically. Consolidating regional art spaces into one, the readily accessible online map also acts as a crucial educational and research tool for locating historical and current data about Caribbean art, broadening both local and international knowledge, awareness and collaboration. Mapping becomes an act of resistance as we become our own cartographers, insisting on connection rather than division and relationship as opposed to discord. The map also resists the notion that there is a central and singular art world of which we are peripheral.

While it maybe true that, as Amanda Coulson wrote in the Frieze April issue, ‘The idea that anything intellectual happens here is anathema to the brand we have projected to the outside world’,[2] this map opposes the reductive way in which the Caribbean has been branded repeatedly as an exotic playground for people from elsewhere.

Fresh Milk has worked with partners in the region to establish a regional residency project called Caribbean Linked.[3] This project brings artists throughout the region to make and exhibit art, engage in critical dialogue and build relationships, while using the arts to foster a more unified Caribbean.

As our relationships spread beyond the insular Caribbean, our programming expands to reflect the shifting dynamics of our engagements. Nurturing our core foundation in the Caribbean equips us to build robust, meaningful connections internationally – not seeking validation, but rather mutually enriching cultural exchanges. Fresh Milk is continually fostering critical conversations with entities throughout the Caribbean, in the Global South and traversing the North/South axis of the world to holistically realize a healthy cultural ecosystem.
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ARC Magazine announces Katherine Kennedy’s Fellowship at Akademie Schloss Solitude

ARC Magazine shares Katherine Kennedy‘s first report from Akademie Schloss Solitude, Stuttgart. Katherine was selected on behalf of Fresh Milk to participate in the ResSupport Fellowship programme offered by Res Artis. During her 3 month tenure, she will be a resident correspondent, interacting with the personnel and fellows, conducting interviews, and extending the wealth of the Akademie’s programming to our community. Read more below:

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The best way I can describe both the past few and upcoming months would be transitionary. Working in the arts is flexible by nature, but at times it feels even more crucial to be receptive to change when operating in the context of the Caribbean and contributing to platforms such as ARC Magazine and Fresh Milk. The missions of both initiatives overlap and synergize in their commitment to maintaining critical, creative spaces of encounter, acting as ‘cultural labs‘ whose agendas surpass nationalistic thinking with the larger, holistic good of the region in mind. These are ambitious goals that both ARC and Fresh Milk rise and adapt to in a number of ways on an ongoing basis, and goals that can only be achieved through open mindedness to new ideas, new people and new environments.

I applied in the capacity of Assistant to Director at Fresh Milk to the ResSupport Fellowship programme offered by Res Artis, a worldwide network of over 400 residencies of which Fresh Milk is a member. The fellowship is described as an “exchange program of cultural workers at residency centres…[providing] the occasion to increase organisational consciousness, strengthen the bonds, and also generate knowledge and cultural sharing among the members of the Res Artis network.”

These ideas of exchange and knowledge transfer immediately resonated, having always been at the heart of our work, and I was honoured to have been selected to travel to Stuttgart, Germany to be hosted for three months (September 1 – December 1, 2014)  by Akademie Schloss Solitude. In addition to gaining insight into how this prestigious residency centre is run and fostering relationships with the staff and resident artists, I will be acting as a correspondent on behalf of Fresh Milk and ARC, sharing information on the Caribbean contemporary art scene and in turn extending my experiences and information gained at the Akademie with our networks throughout the region. I’m aiming to ensure that this journey is not a drop in a pond, but can lead to future collaboration and be mutually enriching for all involved – large goals seem to come with the territory, but the very existence of opportunities such as this is proof that there is a real desire on both sides for meaningful engagement.

The transition from Barbados to Germany is taking place, and even as I take the time to orient myself here I am eager to absorb as much as I can, having hit the ground running. But while this shift in my location and commitments will be more than a drop in a pond in the greater scheme of things, it has still produced ripples in the daily functioning of both initiatives I am representing.

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While I am abroad, Barbadian artist and regular volunteer at Fresh Milk, Versia Harris, will be stepping in and interning as Assistant to Director in training, exemplifying the importance of investing in the development of emerging artists and equipping them with the necessary skills to confidently enter professional environments. Similarly, ARC has recently inducted three interns into its fold – Katherine Agard, Varala Maraj and Natalie Willis – who have each been applying their talents and doing a fantastic job at working cohesively with ARC’s core team. Witnessing the domino effect of knowledge transfer that is already branching out from all sides feels very special to me, and can only stretch further and further as time passes and each new experience gets added to the mix.

Transition is also a form of evolution. New ideas, new people, new environments; all of these continue to come together to spell progress, growth and fresh prospects in ways that we envision reaching far beyond my tenure in Germany, with the input of so many incredible individuals and institutions working in tandem to create and circulate new possibilities. In this spirit, I’ll finish by sharing Akademie Schloss Solitude’s current call for applications to their next residency cycle below – perhaps it will be the first point of departure from this fellowship for new discoveries and opportunities for others:

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Call for Applications: Akademie Schloss Solitude

For the fifteenth time, Akademie Schloss Solitude is granting approx. 70 residency fellowships of three to twelve months in duration. More than 1.200 artists from more than 100 countries have developed and advanced projects at the Akademie since its opening in 1990, creating a close-knit, global network of Solitude alumni that expands from year to year. The Akademie pursues an intense exchange between artistic and scientific disciplines. With the art, science & business program the transfer of knowledge and experience between these fields can be deepened to create new synergies of creativity, inventiveness and management.

International artists are invited to apply from the following disciplines: Architecture (design, landscape architecture, urban planning), Visual Arts (including performance art), Performing Arts (stage design, dramatic texts, dramaturgy, musical theater, performance, direction, drama, dance), Design (fashion, costume, product and furniture design, visual communication), Literature (essay, criticism, poetry, prose, translation), Music/Sound (interpretation, sound installation, sound performance, composition) and Video/Film/New Media (including video installation, fiction and documentary).

Furthermore, scholars, scientists and professionals from the disciplines of the Humanities, Social Sciences (with a focus on culture and the politics of space), Economy/Economics (with a focus on urban policy), and Culture & Law (with a focus on authorship) are invited to apply.

Persons up to 35 or if older who have completed a university or college degree within the past five years are welcome to apply. Currently enrolled university or college students (at the time of application) will not be considered for selection. Each fellowship recipient is granted Euro 1,100 per month, in addition to free lodging.

For additional information on the residency programme, application process and selection jury members, see the Akademie Schloss Solitude website here, or visit our Opportunities page.

Application deadline is Friday, October 31, 2014 (Postmark/End of Online Application).

​As of July 1, applicants will find all information, be able to register and download the application form or apply online on the Application website.

Fresh Stops

Fresh Stops

Fresh Milk  is pleased to announce a collaborative partnership with the local initiative Adopt A Stop to bring art into the public space, commissioning six young Barbadian artists to produce original artwork for the benches which will pop up around the island from October 2014. The artists are Evan Avery, Matthew Clarke, Versia Harris, Mark King, Simone Padmore and Ronald Williams. This project is an opportunity to create visibility for the work these emerging creatives are doing, allowing the public to encounter and interact with their pieces in everyday life, generating interest and inviting dialogue about their practices. These six benches are the first edition of, hopefully, many more to come. Stay tuned for more information as these benches come to a stop near you!

About Adopt A Stop:

The Adopt A Stop project provides socially beneficial advertising.in the form of bus shelters, benches and outdoor fitness stations at prime sites around Barbados. They embrace solar lighting, local materials and tropical design in keeping with their goal of environmental sustainability.

About the Artists:

Evan Avery

Evan Avery is a young, Barbadian artist; and a graduate of the Barbados Community College, receiving a Bachelor’s Degree in Fine arts. His primary medium is acrylic paint; working with flat, bright colours, he creates compositions with characters ‘the Miniis’ which he uses to represent himself or others, as well as events in his life. He is now in the process of creating a business around his work, transferring his characters and ideas onto clothing and other objects as a means to share the ‘Miniis’ with people all over the world. From September 2013 – March 2014, Evan’s work was exhibited at Casa Tomada, Sao Paulo, in their public art programme ‘A Casa Recebe’.

Matthew Clarke

Matthew Clarke‘s passion for art started at a young age, and he began participating in the National Independence Festival of Creative Arts (NIFCA) while attending St. Michael’s School. Through the Festival, he achieved bronze, silver, gold and incentive awards, and went on to be the recipient of the Prime Minster’s Scholarship for Visual Art in 2003. Clarke completed his Associate Degree in Visual Art at the Barbados Community College (BCC) which earned him a Barbados Exhibition for tertiary studies, and in 2009 he obtained a Bachelor Degree with honours in Graphic Design at the same institution. He has freelanced for various design agencies (Virgo, 809, RED Advertising, G and A Communication, RCA) and worked at the Nation Publishing Company on the Attitude Magazine, creating its logo and design. He has also worked at Banks Holdings Limited (BHL), where he was appointed Internal Web Designer in charge of the Banks Beer website.

In addition to working on independent projects, he has been working as a graphic designer at RED Advertising and PR Agency as of 2011, where he is currently Deputy Creative Director. He is the co-owner and principle of a Caribbean comic company called Beyond Publishing, which has published over 22 books sold digitally and in print, both locally and internationally.

Versia Harris

Versia Harris is a Barbadian artist living and working in Weston, St. James. She graduated from the Barbados Community College with a BFA in the Studio Art programme in 2012, with an award from The Lesley’s Legacy Foundation. She has since participated in four residencies, regionally and internationally. In 2014, she was one of 83 artists selected to show in IV Moscow International Young Art Biennial. Versia tackles perceptions of fantasy in contrast to the reality of her original character. She uses Adobe Photoshop to manipulate her pen drawings to create the animations.

Mark King

Mark King is a multidisciplinary Barbadian artist who explores archetypes and social norms. Interested in notions of topography and megalography, Mark makes coded, often satirical work that highlights social phenomena. The son of a former diplomat, mark has called several places home. Growing up in the Bahamas, Belgium and the United Sates has left Mark with a unique perspective that directly influences his artistic practice.

Mark holds a Masters of Fine Arts degree in Photography from the Academy of Art University is San Francisco, California. In 2011 the Lucie Foundation handpicked Mark for their apprenticeship programme. During the same year he participated in a screen-printing residency at Alice Yard in Port of Spain, Trinidad. In  2013, he participated in two residencies – Fresh Milk in Saint George, Barbados and Ateliers 89’ in Aruba for the Mondriaan Foundation’s Caribbean Linked II. Last year he released his first monograph, ‘Plastic’ through MOSSLESS publishing at The Newsstand in New York. Plastic has gone on to The 2013 New York Art Book Fair at MoMA PS1, The 8Ball Zine Fair, the 2013 I Never Read Art Book Fair in Basel, Switzerland, and The 2014 LA Art Book Fair in the Geffen Contemporary at MOCA. In July – August of 2014, Mark’s work was on display as part of the International Artist Initiated project (IAI) hosted by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme, which took place alongside this year’s Commonwealth Games.

Simone Padmore

Simone Padmore, also known as Simone Asia, is an Illustrator who was born on May 2nd, 1990 in Bridgetown, Barbados. Since the age of four she has been very interested in art, particularly the drawing of human figures. By the time she completed secondary school, Simone had decided that Visual Arts was the career path she would choose. From 2006-2011, Simone attended the Barbados Community College where she received her Associate’s Degree in Visual Arts and her Bachelor’s of Fine Art in Studio Art. Attending the Barbados Community College exposed Simone to many different art forms, techniques and experimentation. As the days went by she grew a stronger sensibility for drawing and developed a love for pen and ink which today is her desired choice of media. After college, Simone continued her independent practice. She has shown in art shows and fund-raising events. Simone won the incentive award at NIFCA in 2011. She also was featured in magazines such as the Arc Magazine, FuriaMag magazine and Caribbean Beat Magazine along with a few online fanzines. Simone has done two residencies so far – Fresh Milk in 2012 and Projects and Space in 2014. Simone is currently developing her personal work and is due to attend another residency in Trinidad with Alice Yard in August.

 Ronald Williams

Ronald Williams is a multimedia artist and graduate of the Barbados Community College Fine Arts program. His work currently focuses on race and sociology, most recently investigating the role that sports and the black athlete play in society. He manipulates popular based imagery to compose computer-generated images that explore sports, perceptions, stereotypes and fantasies about the black athlete or figure. This collage series was shown in Scotland at the International Artist Initiated (IAI) project, presented by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme which took place alongside this year’s Commonwealth Games.

Offset Issue #1: The Man Who Travels With a Piece of Sugarcane – #CCF

Offset Issue #1

In late 17th century and early 18th century Japan, there was a famous Ronin swordsman by the name of Miyamoto Musashi. The term Ronin was normally applied to samurai who didn’t have a master, either because the master died or the warrior was in disgrace. In Offset Issue #1: The Man Who Travels with a Piece of Sugarcane (2014), the main character Kyle Harding is a little like a stick/sugar cane fighting Musashi—who happens to attend University in contemporary Barbados.

The above excerpt is from Kwame Slusher’s review of Offset Issue #1 by Tristan Roach and Delvin Howellthis week’s addition to the Fresh Milk Books Tumblr - the online space inviting interaction with our collection in the Colleen Lewis Reading Room.

For new Critical. Creative. Fresh reviews every week, look out for our #CCF Weekly posts and see the great material we have available at Fresh Milk!

Studio Conversations with Annalee Davis, Mariam Zulfiqar and Christina Millare

Fresh Milk is pleased to share the archive of a conversation which took place on August 15th 2013 between UK based Christina Millare, visiting curator, Mariam Zulfiqar and Founding Director of Fresh Milk, Annalee Davis.

Studio Conversations caught up with curator and Curating Contemporary Art Inspire graduate, Mariam Zulfiqar to discuss her research residency in Barbados, which will culminate into a forthcoming exhibition that explores the impact of plant migration on the Barbadian visual and social landscape.

They also spoke with Visual Artist, Annalee Davis, the founder of The Fresh Milk Art Platform Inc., an artist led initiative that contributes to the discourse surrounding creative production within the informal networks of the Caribbean and its diaspora by offering a platform for exchanges among contemporary practitioners.

Curator, Christina Millare, a graduate of the Curating Contemporary Art Inspire MA (2010/2012) has programmed Studio Conversations and chaired the event.

Studio Conversations is a series of live video linked studio visits with artists and curators. These events aim to give audiences an opportunity to engage in a dialogue with internationally based artists and curators to explore how their practice might be translated within transglobal contexts.

 About Mariam Zulfiqar:

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Mariam Zulfiqar graduated from the Curating Contemporary Art Inspire MA in 2012 during which time she was based at Art on the Underground where she continues to work in a curatorial capacity. Mariam recently curated the online Kurt Schwitters inspired project, MerzBank with Steven Bode for Film and Video Umbrella and is currently on a research residency in Barbados. Her research will culminate into a forthcoming exhibition that explores the impact of plant migration on the Barbadian visual and social landscape.

About Annalee Davis:

Founder of Fresh Milk Art Platform Inc.

Founder of Fresh Milk Art Platform

Annalee Davis is a Visual Artist.  She has been making and showing her work regionally and internationally since returning to the Caribbean in 1989.  She is the founder of The Fresh Milk Art Platform Inc., an artist led initiative for exchanges among contemporary creatives supporting interactions across disciplines and contributing to an increasingly rich discourse surrounding creative production within the informal networks of the Caribbean and its diaspora. She is a part-time tutor in the BFA programme at the Barbados Community College.  For more on her practice, visit her website.

About Christina Millare

Christina Millare

Christina Millare is a curator based in London, UK. She is interested in considering alternative venues as locations for unique presentations of artists’ moving image, performance, sound and digital work. Christina’s projects have a strong collaborative approach with host venues, enabling her to draw upon pre-existing audiences as well as offer alternative experiences of a familiar location. In 2013 she was awarded Grants for the Arts, Arts Council England funding to explore this notion further and worked with established artists including, Janek Schaefer, The Bohman Brothers and Fabienne Audeoud.

Currently, Christina is developing; ‘The Cross Continent Vloging Project’, an ambitious international exhibition and live public programme featuring live art, sound, performance and moving image exploring the trans-global and migratory behaviour of online video blogging.

A graduate of the Royal College of Art’s MA in Curating Contemporary Art, Christina previously held curatorial and programme coordinator positions at Abandon Normal Devices Festival and Cornerhouse, where she produced the group exhibition ‘New Cartographies: Algeria – France – UK’ (featuring Kader Attia and Zineb Sedira) and produced various aspects of both organisations’ public programming.

Link to two of Christina Millare’s projects can be found below:

“Machines by Other Means” – http://vimeo.com/51430133
“Pleasure Box” – http://vimeo.com/80374088

Mapping the Commonwealth with “Glasgow’s Finest”

Alberta Whittle shares her thoughts on the recent International Artist Initiated (IAI) project in Glasgow, presented by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme which took place alongside this year’s Commonwealth Games. Read more below:

Photograph by Rayanne Bushell

Representatives of Clark House Initiative, RM, Video Network Lagos, Fresh Milk; Alberta Whittle and Rayanne Bushell

 “In 1884 the Earl of Rosebery visits Australia and asks, ”Does the fact of your being a nation… imply separation from the Empire? God forbid! There is no need for any new nation, however great, leaving the Empire, because the Empire is a Commonwealth of Nations“.”[1]

In the summer of 2014, the Commonwealth Games arrived in Glasgow. Much like any travelling circus, the Games brought believers, performers, participants and an audience. Like any participant, I came to Glasgow with my own expectations. Having lived in the city for many years, but failing to assimilate completely, I still feigned the confidence that comes so easily for those who know the area. Sharing a taxi ride, with the self-proclaimed “Glasgow’s Finest”, the driver quizzed me on my knowledge of the city’s geography, asking me where roads connected, easily highlighting my failure to truly belong to Glasgow. The driver insisted on informing me that Glasgow’s taxi drivers were always known as “Glasgow’s Finest”, and I was not allowed to forget it.

During this trip, over many conversations with “Glasgow’s Finest”, a discourse of belonging and not belonging readily emerged. The drivers often assumed Barbadian artist, Annalee Davis and I were Americans, our accents blurring into a vague sense of foreign-ness. They asked why we were here, and when we explained about our project as part of the Commonwealth Games, they in turn spoke of how the Games were not for Glaswegians. The Games’ faux presentation of multiculturalism and the promotion of the idea that we are all in this together confronts the reality that, for many Glaswegians, there is a disconnect between their participation on home soil and the participation of the athletes and visitors flown in to contribute to the spectacle of imagined unity. The notion of unity between us, members of a former British colony, and Glaswegians, a nation grappling with securing their own independence, came from an unlikely direction. Driving through the Merchant City we passed roads such as St. Vincent Street and Jamaica Street; easy reminders of Glasgow’s active role within the slave trade as members of the plantocracy and as indentured servants. However, “Glasgow’s Finest” posited the belief that Caribbean and Scottish nations must be united against the English, advocating the belief that Scots also faced “oppression” from England. This supposition did not entirely surprise me, given the political climate surrounding the upcoming Scottish Referendum.

From the banners, traffic diversions and the odd, green mascot called Clyde dotted across the city, the aura of the Commonwealth seeped into Glasgow’s public spaces. As part of the celebrations, the David Dale Gallery in Glasgow’s East End invited artist-run spaces from across the Commonwealth:  Fillip (Canada),  RM (New Zealand), Cyprus Dossier (Cyprus), Fresh Milk (Barbados), Video Art Network Lagos (Nigeria) and Clark House Initiative (India) to participate in their International Artist Initiated programme.

As part of the Fresh Milk platform, Mark King, Ronald Williams and myself presented a series of interventions. Responding to the commercial nature of the area, we crafted three individual presentations. The location of the David Dale Gallery within the heart of the East End of Glasgow – once a thriving industrial boomtown – seems peculiarly apt, mirroring the substantial role of production Britain’s former colonies assumed, laying the foundation for the industrial revolution. These same former colonies are now re-positioned as independent nations, members of the Commonwealth, exhibiting artwork in their own image. The recent deterioration of Glasgow’s prominence in manufacturing, where production is now outsourced to these former colonies, lends symmetry to the proceedings.

 “Internet ultimately offers both the seductions and subductions of a postmodern “world.”’ [2]

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The Art Of Loving Google #CCF

Recently, some friends and I kept joking about how the answer to everything can be found by Google. Typing: ‘How to code a website’, ‘How to make alfredo sauce’, ‘I fell and now my tail bone hurts’ and, with this review in mind, I Googled ‘how to love’.  A 30 step guide—with pictures—was one of the first solutions the search engine provided. Resisting the urge to roll my eyes too much, I browsed the guide. Step by step, I increasingly noticed similarities between this ‘how to love’ and The Art of Loving.

The Art of Loving is a small book about love written by Erich Fromm in the 1950s. A social philosopher and psychoanalyst, he discusses types and effects of love and goes so far as to identify ‘real love’ and even how to put it into action.

The above excerpt is from Versia Harris’ review of Erich Fromm’s The Art of Loving, this week’s addition to the Fresh Milk Books Tumblr - the online space inviting interaction with our collection in the Colleen Lewis Reading Room.

For new Critical. Creative. Fresh reviews every week, look out for our #CCF Weekly posts and see the great material we have available at Fresh Milk!

Katherine Kennedy begins her Fellowship at Akademie Schloss Solitude

schloss solitdue insta logos

Earlier this year, Assistant to Director at The Fresh Milk Art Platform, Katherine Kennedy, was selected to travel to Stuttgart, Germany as part of the ResSupport Fellowship programme offered by ResArtis. We are excited to announce that Katherine has just begun her fellowship at Akademie Schloss Solitude, which runs for three months from September 1 – December 1, 2014.

Katherine began her relationship with Fresh Milk as one of the first resident artists on the platform. Since working here, Katherine has represented the organisation at the Instituto Buena Bista (IBB) in Curaçao, received a scholarship for the Vermont Studio Center, and taken part in a collaborative project with Casa Tomada in Brazil. While Katherine is having this amazing new experience abroad, Barbadian artist and member of our Fresh Milk Books Team, Versia Harris, will be interning here at Fresh Milk as Assistant to Director in training. Versia graduated from the Barbados Community College with a BFA in the Studio Art programme in 2012, with an award from The Leslie’s Legacy Foundation. She has since participated in four residencies, regionally and internationally. In 2014, she was one of 83 artists selected to show in the IV Moscow International Young Art Biennial.

This internship exemplifies Fresh Milk’s commitment to investing in the development of emerging artists, demonstrating the importance of knowledge transfer and equipping them with the necessary skills to confidently enter professional environments while encouraging them to maintain artistic production.

During Katherine’s time in Germany, she will be introduced to the different working areas of Akademie Schloss Solitude and gain insight into how this prestigious residency programme is run, as well as fostering relationships with the resident artists and sharing information about Fresh Milk and the Caribbean contemporary art scene. In the spirit of this exchange, we would also like to share that Akademie Schloss Solitude is currently inviting applications from artists worldwide for their next residency cycle. See more below:

Image courtesy Akademie Schloss Solitude.

Image courtesy Akademie Schloss Solitude.

Call for Applications:

For the fifteenth time, Akademie Schloss Solitude is granting approx. 70 residency fellowships of three to twelve months in duration. More than 1.200 artists from more than 100 countries have developed and advanced projects at the Akademie since its opening in 1990, creating a close-knit, global network of Solitude alumni that expands from year to year. The Akademie pursues an intense exchange between artistic and scientific disciplines. With the art, science & business program the transfer of knowledge and experience between these fields can be deepened to create new synergies of creativity, inventiveness and management.

International artists are invited to apply from the following disciplines: Architecture (design, landscape architecture, urban planning), Visual Arts (including performance art), Performing Arts (stage design, dramatic texts, dramaturgy, musical theater, performance, direction, drama, dance), Design (fashion, costume, product and furniture design, visual communication), Literature (essay, criticism, poetry, prose, translation), Music/Sound (interpretation, sound installation, sound performance, composition) andVideo/Film/New Media (including video installation, fiction and documentary).

Furthermore, scholars, scientists and professionals from the disciplines of the Humanities, Social Sciences (with a focus on culture and the politics of space), Economy/Economics (with a focus on urban policy), and Culture & Law (with a focus on authorship) are invited to apply.

Persons up to 35 or if older who have completed a university or college degree within the past five years are welcome to apply. Currently enrolled university or college students (at the time of application) will not be considered for selection. Each fellowship recipient is granted Euro 1,100 per month, in addition to free lodging.

For additional information on the residency programme, application process and selection jury members, see the Akademie Schloss Solitude website here, or visit our Opportunities page.

Application deadline is Friday, October 31, 2014 (Postmark/End of Online Application).

​As of July 1, applicants will find all information, be able to register and download the application form or apply online on the Application website.