Open Call: Tilting Axis Fellowship 2020

Het Nieuwe Instituut has joined forces with Tilting Axis to offer a Fellowship to one mid-career to established applicant based in the Caribbean. The Fellowship is supported by Het Nieuwe Instituut as lead partner and host, and will include collaborations with the Amsterdam Museum, De Appel, The Black Archives and Witte de With.

For Whom?

Mid-career and established researchers, artists, designers, writers, curators, or cultural producers based in the Caribbean region interested in building new links with cultural institutions in the Netherlands, and who have an interest in developing their practice around themes related to architecture, spatial practice, design or digital culture.

Goals

  • Develop, stimulate and visualise curatorial, design and artistic realities coming from the Caribbean region.
  • Enhance knowledge exchange and collaboration with a cross-section of Dutch cultural institutions.
  • Provide a variety of platforms for professional experience.
  • Produce critical knowledge on inter-disciplinary exchanges as well as visual culture.
  • Offer practical support and travel to the Netherlands for an extended Fellowship.
  • Engage with hosting and collaborating institutions to interrogate and challenge their institutional structures and methodologies.
  • Utilise the existing Tilting Axis network

About the Position

This Fellowship focuses on applicants living and working within the Caribbean region and is both research and practice-led. The selected applicant will be based in Rotterdam at the Het Nieuwe Instituut and will have access to other partner cultural institutions in Rotterdam and Amsterdam. A total stipend of 12,000 Euros will be granted by Het Nieuwe Instituut to cover living expenses and one round-trip airfare from any country within the Caribbean to the Netherlands. Accommodation will be provided for a period of six months for a maximum of 800 Euros per month. Stipends may be subject to a withholding tax. Specific details about the position will be discussed with the selected applicant.

 

Knowledge Exchange

The Fellowship will be developed through independent research; individual support and interaction with the Research Department team at Het Nieuwe Instituut; monthly meetings to discuss thematic and methodological aspects of the project; and diverse collaborations with partner institutions.

This Fellowship includes access to and collaborations with:

Het Nieuwe Instituut: The fellow has daily access to the facilities of Het Nieuwe Instituut, including the library, archives, exhibitions, workspaces and presentation spaces. Other resources may be available in concert with other departments of Het Nieuwe Instituut as well as its ongoing institutional partnerships.

The Amsterdam Museum: The fellow has access to the facilities at the locations of the Amsterdam Museum, including the library, archives, exhibitions, workspaces and presentation spaces. The team is willing to have in-depth conversations with the fellow and encourage proposals by the fellow for a (public) event such as a talk, screening or a different form of presenting their work and research.

De Appel: The fellow will have daily access to the facilities of De Appel, including the library, archive, exhibition, workspaces and presentation spaces. The archive is specialised in performance arts and contains books, magazines, drawings, letters and ephemera. The team and Curatorial Programme participants are also ready to welcome the fellow and provide contacts, feedback and are happy for the fellow to learn from new voices coming from De Appel.

The Black Archives: The fellow may choose to present the progress of their research during a public talk at The Black Archives in Amsterdam. While hosting a public talk, the fellow will be able to engage with our audience about Black and Caribbean histories.

Witte de With: The fellow may choose to participate in a dedicated public programme at Witte de With to present existing or ongoing research on contemporary visual arts or cultural developments in the present. Alternatively, the programme could be organised as a private session, in the form of a think tank, professional networking event, or similar, with the goal of discussing the fellow’s research topic or share information collected to date. Whatever format is chosen, this programme would be organised within the frame of the institution’s collective learning initiative.

 

Application

Applicants for the Fellowship are invited to develop an independent proposal outlining a clear interest in the areas of research/practice and organisations highlighted. The proposal should be content driven and can be based on already existing research or offer new projects. The fellow is not expected to produce an outcome or finished artwork, yet will be encouraged to publicly present the ongoing research interests whilst in the Netherlands. The research will also be disseminated on an ongoing basis via Het Nieuwe Instituut and partner institution’s website, newsletter or other publications.

The fellow will be invited to:

  • Make a series of presentations in Rotterdam & Amsterdam at host and partner institutions on their research/practice;
  • Produce a monthly text/sound/video/photo essay (6 essays in total). The series of monthly texts will be posted on the websites of Tilting Axis and Het Nieuwe Instituut, with links to the partner institutions;
  • Research could lead to an installation, exhibition or further events at partner institutions during or after the Fellowship;
  • make a presentation at the Tilting Axis meeting in 2020. The aim is to support the fellow’s travel to Tilting Axis 6, hosted by the National Art Gallery of The Bahamas in Nassau.

A final report on the Fellowship experience is required.

 

Format and Submission Requirements

The Open Call will be available from 16 September, 2019, with a deadline for submission on 17 November, 2019. The call is open to individuals. Applications should be submitted in a single PDF file of maximum 10MB. In order to be considered, proposals should include the following information:

● A self-introduction in which applicants articulate the relation between their interests and the hosting/partner institutions. Departing from a curatorial, research or design and artistic ambition, we expect to see a statement of intent of maximum 1000 words. This statement should explain the applicant’s research focus, and its possible connection to architecture, design or digital culture, as well and the interest in the anchor and partner institutions.

● Relevant documentation of previous work, and/or links to audio or video files (maximum 10 minutes) in the application PDF.

● Indication of availability to take up the Fellowship from April – September 2020

Proposals should be written in English and applicants must have a working knowledge of English. While we understand that English proficiency may vary or that English may not be the applicant’s first or primary language, unfortunately, we are not able to offer translation support at this time. Applicants with specific questions are encouraged to contact ta-fellowship@hetnieuweinstituut.nl about the availability of any support service.

Proposals can be submitted to: ta-fellowship@hetnieuweinstituut.nl and copied to tiltingaxis@gmail.com with the subject ‘Tilting Axis Fellowship 2020 | The Netherlands’

Selection Process

Proposals will be considered by an international committee consisting of the Tilting Axis and Het Nieuwe Instituut teams along with representatives from the partner institutions including curators, academics, and museum professionals. The review committee includes:

Shortlisted candidates will be invited to a phone interview with members of the selection committee.

 

About the Organisers

Tilting Axis

Tilting Axis is a roving meeting, pivoting on a Caribbean axis from which all other coordinates are viewed, understood and measured, facilitating alliances and increasing visibility of Caribbean contemporary art practice. It was co-founded in 2014 by Annalee Davis of The Fresh Milk Art Platform and Holly Bynoe of ARC Magazine Inc.

From its inception, Tilting Axis has grounded its concerns in the Caribbean as a part of a wider creative ecology, and the health, evolution and advancement, a primary objective of its annual meetings held inside and outside of the region. As a part of its expanded team. The core team also includes Dr Mario Caro, independent curator, board member at Res Artis, and Lecturer at the Massachusetts Institute of Technology; Tobias Ostrander, independent curator; Natalie Urquhart, Director of The National Gallery of the Cayman Islands; and Lise Ragbir, Director of Galleries of Black Studies, University of Texas, Austin, USA.

Tilting Axis is the organisational platform that manages the annual meetings and coordinates the Fellowships in partnership with host institutions.

About the Partners

The Fellowship is organised by Tilting Axis in collaboration with a group of six Dutch partners led by Het Nieuwe Instituut, who will co-host the fellow in Rotterdam and Amsterdam.

The Amsterdam Museum

The Amsterdam Museum tells the story of the city of Amsterdam; about its past, present and the future. The museum considers it its social mission to make the story of Amsterdam accessible and to present it to as broad an audience as possible. We develop exhibitions, events, publications and other public products, in our museums as well as online. Innovation, hospitality, diversity, (international) cooperation and knowledge exchange are some of our most important values. The museum receives more than 500.0000 visitors each year on its four permanent locations in the heart of the historic city.

De Appel

De Appel is an Amsterdam based contemporary art institute that brings together people, objects and ideas to explore the unknown. With an experimental, open-minded and inclusive focus, the programs of De Appel serve the intellectually and emotionally curious, (non-) specialised art enthusiasts as well as seasoned art professionals.

De Appel organises exhibitions, performances, film screenings, lectures and gatherings that cross boundaries between the arts and other disciplines. These programs facilitate artistic and socially relevant dialogues with various cultural and societal organisations, both in Amsterdam and beyond.

In addition, De Appel is home to a world-renowned curatorial programme and houses an extensive archive and library. De Appel is continuously developing its programs and goals in order to remain critical towards its changing societal and cultural contexts.

The Black Archives

The Black Archives is a unique historical archive for inspiring conversations, activities and literature from Black and other perspectives that are often overlooked elsewhere.

Het Nieuwe Instituut

Het Nieuwe Instituut is the Dutch Institute for Architecture, Design and Digital Culture. The institute combines a research-driven museum, the State Archive for Architecture, the Agency for international programmes and for 2019 an un-official Academy under the title Neuhaus.

In an era characterised by radical technological, economic, cultural and social shifts, Het Nieuwe Instituut aims to illuminate and map the quickly changing world and foster discussion of it, in a networked fashion, with architects, designers, artists, knowledge institutes, cultural organisations and other agents. The institute organises exhibitions, lectures, and fellowships, carries out and publishes research projects, and develops international programmes at the Venice Architecture Biennale, the Salone del Mobile in Milan, the Istanbul Design Biennale, and the Bi-City Biennale of Urbanism and Architecture in Shenzhen, among other forums. All Het Nieuwe Instituut’s activities are grounded in the principles of design and innovation – two concepts bound up with changing value systems and conflict.

Witte de With

Founded in 1990, Witte de With Center for Contemporary Art was conceived as an art house with a mission to present and discuss the work created today by visual artists and cultural makers, from here and afar. It organizes exhibitions, commissions art, publishes, and develops educational and collaborative initiatives. This non-profit institution has especially worked with artists, and engaged audiences, who are interested in posing challenging inquiries and articulations of our present. While its program considers the contemporary, it also regards how art has been created and experienced in the past, and it imagines the futures art can come to shape.

 

Announcing Kia Redman as the Barbadian resident artist at Le Centre d’Art, Haiti

Fresh Milk is thrilled to announce Barbadian artist Kia Redman as the recipient of a one month artist residency at Le Centre d’Art, Haiti, who we have partnered with for a residency exchange programme between Haiti and the wider Caribbean to create opportunities for women arts practitioners, supported by UNESCO’s International Fund for Cultural Diversity (IFDC).

Kia’s residency will take place October 14th – November 14th, 2019. A subsequent call for women, Haitian artists to attend a one month residency with us at Fresh Milk, Barbados will be released soon!

About Kia Redman:

Kia Redman is a creative professional living and working in Barbados. She attained her BFA in Studio Art R with first-class honours from the Barbados Community College in 2017 and has spent the time since developing her creative practice.

Kia currently works part time as a designer and videographer for Acute Vision Inc. and Bajans in Motion. She has participated in local residencies with Punch Creative Arena and Fresh Milk Barbados and taken part in local group shows and screenings internationally. In 2018 her short film Roots|Routes won six awards including Best Short Film at the Barbados Visual Media Festival.

Being born into a post-independent nation in formation, Kia’s work focuses on issues of identity, mapping culture and documenting histories. She aims to rewrite the blanket definition taught to be her Caribbean identity and discover the things unique to her lived experience.

________

About Le Centre d’Art:

Le Centre d’Art in Port-au-Prince is an institution that works towards promoting artistic creations by Haitian practitioners on the basis of preserved heritage values. Since its creation in 1944, this atypical space with multiple missions has been at the heart of societal and artistic evolutions. As the major protagonist in the reconfiguration of the fine arts realm in Haiti, Le  Centre d’Art has been paving the way for several schools and artistic movements.

Despite the destruction of the infrastructure during the earthquake of 2010, Le Centre d’Art managed to save more than 5000 works and 3000 archive files, which are today preserved and valued. Since the reopening in 2014, Le Centre d’Art has once again become an essential part of Haitian culture.

Its mission is to support artists and their creations, and to conserve and disseminate Haitian visual arts. It is a resource space for artists, art students, art lovers, collectors and researchers alike.

Open Call: Artist Residency at Le Centre d’Art, Haiti

Fresh Milk is pleased to announce an exciting partnership with fellow arts organization Le Centre d’Art, Haiti, who have invited us to be part of a residency exchange programme between Haiti and the wider Caribbean to create opportunities for women arts practitioners, supported by UNESCO’s International Fund for Cultural Diversity (IFDC).

This segment of the programme invites women artists from Barbados or its diaspora to apply for a fully funded, one month residency at Le Centre d’Art in Haiti from October 14th – November 14th, 2019. The deadline for submissions is August 16th, 2019.

A subsequent call for women, Haitian artists to attend a one month residency with us at Fresh Milk, Barbados will be released at a later date.

See the current, full open call below, or download the PDF guidelines and application form here.

About Le Centre d’Art

Le Centre d’Art in Port-au-Prince is an institution that works towards promoting artistic creations by Haitian practitioners on the basis of preserved heritage values. Since its creation in 1944, this atypical space with multiple missions has been at the heart of societal and artistic evolutions. As the major protagonist in the reconfiguration of the fine arts realm in Haiti, Le  Centre d’Art has been paving the way for several schools and artistic movements.

Over the years, well-known Haitian artists have been revealed internationally, including Philomé Obin, Hector Hyppolite, George Liautaud, Antonio Joseph, Rigaud Benoit, Robert St Brice, Jasmin Joseph, and Préfète Duffaut.

Le Centre d’Art was the starting point for a wealth of visual creativity–upholding a considerable legacy that is today part of private and public collections, in Haiti and abroad. The establishment is apolitical, non-profit, and has gained public recognition since 1947. The governance is composed of a board of directors, an international scientific council and an executive team

Despite the destruction of the infrastructure during the earthquake of 2010, Le Centre d’Art managed to save more than 5000 works and 3000 archive files, which are today preserved and valued. Since the reopening in 2014, Le Centre d’Art has once again become an essential part of Haitian culture.

Its mission is to support artists and their creations, and to conserve and disseminate Haitian visual arts. It is a resource space for artists, art students, art lovers, collectors and researchers alike.

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Residencies Scope

Le Centre d’Art is setting up a synergy project for artistic creation and artistic analysis in the Caribbean, thanks in particular to UNESCO’s International Fund for Cultural Diversity (IFDC). Titled Implementation of a Network for the Creation and Dissemination of Caribbean Art, the project aims to create a link between Haiti and Caribbean places of creation, and to promote the practices of Caribbean artists, especially women, to strengthen the Haitian cultural sector. For two years, artistic residencies will be set up, and will end with an exhibition and a widely distributed publication.

Theme

“The ability of humans to participate intelligently in the evolution of their own system is dependent on their ability to perceive the whole” – Immanuel Wallerstein

Toussaint L’Ouverture, Jean Price Mars, Aimé Césaire, Marcus Garvey, Frantz Fanon, Derek Walcott – long is the list of illustrious men who have shaped the Caribbean as we know it today. What about Caribbean women? University theses on the role of women are rising but they are not written for the general public. Art has the power to make accessible fundamental values and principles, which are too often convoluted. This project aims at highlighting the role of women in the construction of the Caribbean.

About the Residency

For this segment of the residency programme, Le Centre d’Art will host one Barbadian artist for one month in Haiti from October 14th to November 14th, 2019.

Le Centre d’Art will fully bear the costs of residency. The artist will be provided with a workspace, tools and supplies and housing. In addition, the artist will receive per diem to cover all food and transportation expenses throughout the residency. The ticket and the visa will also be covered by Le Centre d’Art.

Moreover, the team of Le Centre d’Art will facilitate access to public and private art collections and cultural activities. The artist will visit artists’ studios, and will give a class on a specific art technique at Le Centre d‘Art.

Le Centre d’Art is located in the heart of the Haitian capital, Port-auPrince. The artist will be housed in a neighbourhood close to Le Centre d’Art and will be able to work within the institution.

Terms of Application

Residency in Haiti, October 14th–November 14th, 2019

This call for applications to attend a residency at Le Centre d’Art in Haiti is now opened to any woman artist from Barbados or the diaspora.

The call concerns exclusively the field of visual arts (any medium). The artist may practice multiple forms of artistic production.

The submitted file must include the following documents in a single PDF document:

• The completed application form (download the document here);
• The Artist’s Curriculum Vitae, including elements describing the artist’s training, her professional career, her experiences, the history of her public exhibitions and shows in galleries (2 pages maximum);
• The residency project related to the theme (2 pages maximum)
• A selection of visuals of the artist’s works (10 works visuals maximum). The visuals must be in color and captioned to legibly specify the dimensions, materials and technique used. For videographers, a page with links to videos accompanied by a brief summary for each one.

Electronic files and any other request should be sent by email to contact@lecentredart.org and Cc judithmichel@lecentredart.org before August 16th, 2019 midnight (GMT).

Selection Committee

The decision is to be made by a selection committee composed of a member of the Board of Le Centre d’Art, a member of the executive team and a representative of Fresh Milk.

Criteria

Special attention to be paid to:

• mastery of the techniques used and the quality of execution
• the aesthetic and technical interest of the artist’s practice
• the coherence of the artist’s proposal with the theme as well as the depth of the readings and interpretations of concepts
• the originality of the works

FRESH MILK XXII Photographs

Fresh Milk is pleased to share images from FRESH MILK XXII: Residency Readings, hosted on Friday, July 5th, 2019.

Writers-in-residence – inaugural recipient of the Colleen Lewis Research/Writing Residency, Barbadian artist Kia Redman; participant in our international residency programme, Bahamian writer Ethan Knowles; and the 2019 ‘My Time’ Local Resident, Barbadian writer Ark Ramsay – each shared the outcomes of their residencies, giving readings of their work and engaging with the audience about their experiences over the last few weeks.

All photos by Dondré Trotman.

Ark Ramsay’s Fresh Milk Residency – Week 4 Blog Post

Ark Ramsay shares a blog post about their fourth and final week as writer-in-residence at Fresh Milk.  With the official residency coming to an end, the question that is asked both internally and externally looms: what is the value of this experience? Ark thinks about the tangible and intangible responses to this question, recognising that residencies are in many ways immeasurable. They allow for the sowing of seeds that bear fruit in multiple, sometimes unforseeable ways over prolonged periods of time, and give creators the too-often denied permission to deeply and unapologetically invest in their practice. Read more below:

Photo by Dondré Trotman

I am terrible at goodbyes.

I preempt the pain of separation by inducing small shocks–inoculating myself against the final disruption–so that what arrives is already marrow-sucked.

I grow nostalgic for things that have not yet ended. It’s a feeling similar to déjà vu, in that I become a passenger in my body–aware of the artifice–trying to hold onto things–knowing them to be transient. I think, I will miss this; outcome being, I do miss this.

I have never walked on stilts, but my mind is well-trained at balancing conflicting mechanisms. It tight-ropes between trying to soften the now, and trying to seal it off in amber.

This was my last week here at Fresh Milk. I did not want it to be subsumed by my familiar patterns.

I slowed down at this farm.

I spent hours sitting amongst the quiet caucus of trees that I had no formal names for.

I contemplated, watched myself in my contemplation, and eventually (growing tired of the intruding me) learned to trust in silence again. There is a deep and penetrating silence (even with the lowing of cows, and the sometimes-intrusion of mahogany pods on a corrugated iron roof) which I had missed entirely while living in Shanghai. It is the kind of silence that May Sarton claims (writing in “Journal of a Solitude”), will force one to confront the starved face at the window–starved cat, starved person–simply put: in the silence are the questions you are running from.

I wanted so badly to push forward this week. To write ceaselessly. To unearth new. To shore up old. But there was a raggedness–the bucket of myself was overflowing with Bathsheba swampies–toppling each other in their quest to be rid of me. Uninspired, tired, I wrote. I wrote what was functional and necessary. I wrote because the ‘job’ of writing must persist even if the muses are late–or never arrive at all. Because you have to go through many roughnesses to reach the roughness that matters–the thousand words that delivers up one usable paragraph. Writing too carefully, I have learnt (am learning), feeds only the overbearing perfectionist–not the nascent manuscript.

And when that was done I retreated fully to silence. I stayed at the farm until the sun set, and the unresolved work of cows was put to bed. I stayed until the St. George noise had backgrounded to a hum, and even the mahogany pods were reticent to fall. I stayed until I could not even remember what it was like to sit in my apartment in Shanghai and hear the forever-din of city life. This resolved the raggedness.

Another form of quiet came to us this week in little Roo. A three-legged rescue puppy with a penchant for nuzzling into the softest parts of someone, and sleeping.

He took up the entire day–not in his need for me–but in my curative need for him. I was reminded of a Joy Williams quote, from one of her strange short stories, “Shepherd”: many things that human words have harmed are restored again by the silence of animals.

That ‘harm’ is always soiled up in our attempts to collate worth, value, the immediate return on investment of all things. For a writer this equates to: page count, characters built, scenarios polished, contacts made, submissions finalized.

What is the payout on a month in the bush?

Why should an organization be structured to support (what sometimes looks), like an artist’s retreat (read: vacation)?

What. Is. The. Value.

I can only recount my own process. What I, in my ruminations, consider to be returns.

What a residency does (I have found out), is provide this buffer against the anxiety of production. It cuts into the noise of ‘value’, and demands that one return to the font of all things–tend the garden–not force (an unforcible) germination process. I have a friend who talks about her work by saying: it’s still cooking. And I imagine a fragrant Caribbean one-pot, full of plantains, beans and everything else in the fridge–but it’s not ready. It needs time. The insights into my work, discovered here, may take two years to prove themselves useful. A story I began writing when I was nineteen needed the addition of the Bardo Thodol (Tibetan Book of the Dead) to reach full coherency–something I only came to see when I was listening to an audio version of that text at four a.m. in Shanghai. What is given now cannot always be used now. But all things are banked, and returned to.

Without time, nothing is given.

Without a buffer against the anxiety of production. The treadmill of value. Nothing valuable is made.

At the risk of overpowering this blog post with quotations, indulge me one last time:

Yet, how do you relax without the safety net of organizations and people who understand that the process of art runs contra to the process of production (as in product; as in consumer)?

What I want to do in these final days is be an active participant in the unfolding. I do not want to sorrow an ending that has not yet ended (though this is inevitable for me). I do not want to contest the value of a thing that I know to have imbued my work with indelible value. I want simply to be here. In the silence. In the nurturing.

The thing about this writing life that I am coming to understand, is that what it takes from you–it also rewards you with.

In time.

Thank you, and goodnight