Announcing Caribbean Linked V

Ateliers ’89, Oranjestad, Aruba in collaboration with Fresh Milk, Barbados and ARC Magazine is pleased to announce that the regional artist residency Caribbean Linked V will be taking place at Ateliers ‘89 from August 6th through 28th, 2018. The official opening event will be held on Wednesday, August 8th from 8pm – 12am.

Thanks to generous support from this year’s core sponsors BankGiro Loterij FondsMondriaan FondsThe Tourism Product Enhancement Fund (TPEF), UNOCA and Aruba Bank, as well as number of local sponsors in Aruba, creatives from around the French, Spanish, English and Dutch Caribbean will convene to produce work, meet cultural activists in the Aruban art community, participate in public talks, blog about their experience and present a closing showcase of works during this three week period. The final event will be held on Sunday, August 26th.

Caribbean Linked is a space for building awareness across disparate creative communities of the Caribbean. It has created viable opportunities for young artists, writers, critics and creative activists from over twenty countries to foster new relationships with a larger community, contributing to the holistic development of the creative industries. In addition, it provides the opportunity to link with industry professionals who facilitate access to wider global conversations for the region’s practitioners, while allowing the artists to create work, exchange ideas and broaden cross-cultural understanding.

Participants in Caribbean Linked V (L-R): Sharelly Emanuelson, Velvet Zoe Ramos, Raily Yance, Adam Patterson, Miguel Lopez, Irvin Aguilar, Gwladys Gambie, Franz Caba, Alex Martínez Suárez, Kriston Chen, Averia Wright, Marina Reyes Franco

Artists this year include Irvin Aguilar (Mexico/Aruba), Franz Caba (Dominican Republic), Kriston Chen (Trinidad and Tobago), Sharelly Emanuelson (Curaçao), Gwladys Gambie (Martinique), Adam Patterson (Barbados), Velvet Zoe Ramos (Aruba), Averia Wright (The Bahamas) and Raily Stiven Yance (Venezuela).

The writer in residence will be art historian and independent curator Marina Reyes Franco (Puerto Rico). Visiting artists who will be lending support to Ateliers ’89 during the residency will be Laura de Vogel (Aruba) and Katherine Kennedy (Barbados). This year’s specially invited curators will be Alex Martínez Suárez, independent curator and general coordinator and museographer at the Museo Fernando Peña Defilló, a private museum in Santo Domingo, Dominican Republic and Miguel A. Lopez, co-director and chief curator of TEOR/éTica in San José, Costa Rica.

For more information, call Ateliers ’89 at (+297) 565 4613, email caribbeanlinked@gmail.com or visit the Caribbean Linked website at caribbeanlinked.com, and follow the Caribbean Linked Facebook page for regular updates on the residency!

Tilting Axis Curatorial Fellow 2018

For the second year, Tilting Axis has facilitated, administered and designed an open call for our Curatorial Fellowship. In a strong partnership with the University of Texas at Austin Art Galleries at Black Studies we issued an open call to find and seek out a curator living and working in the Caribbean who would rise to the occasion to use the resources, collections and moment at hand to advance their practice in a nuanced and sensitive way. The jury panel comprising of Lise Ragbir, Joel Butler, Tobias Ostrander, Holly Bynoe, Annalee Davis, Eddie Chambers, Natalie Urquhart, Sara Herman and Mario Caro (9  in total) had the laborious task of deliberating an exceptionally strong pool of candidates from 7 countries.

The competition was stiff—reflecting the wealth of talent, and need for increased opportunities, for curators in the region. We are happy to announce that this year’s Tilting Axis 4 Curatorial Fellowship sponsored by and to take place at the University of Texas at Austin, has been awarded to—Natalie Willis, Assistant Curator at the National Gallery of The Bahamas.  At the University of Texas at Austin with access to collections of work by African American and Caribbean artists, Natalie hopes to look beyond nationalist dialogues and examine how shared history presents itself in different cultural phenotypes. As she says, “One root leads to many rhizomes and proliferations of blackness.”

About Natalie:

Natalie Willis is a British-Bahamian curator and cultural worker. Born and raised in The Bahamas, she received her BA (Hons) and MA in Fine Art at York St John University in the UK. Willis is currently working as an Assistant Curator at National Art Gallery of The Bahamas with a concerted focus on writing aimed at decolonising and decentralising the art archive, and adding to the literature on Bahamian and Caribbean visual culture and developing her burgeoning curating practice. Somewhere in a parallel universe, she still makes artwork.

As an emerging curator desperately trying to not contribute to the brain-drain of the Caribbean, she has dedicated her time at the NAGB to focusing on knowledge building and access through text and speaking to the way the colonial tourism of the late 1800s shaped the cultural and physical landscape of the Anglo-Caribbean.

Willis has been an invited speaker at the Caribbean Studies Association  Conference (2017), the Museums Association of the Caribbean Annual Conference (2016). Most recently, she took part in the Goldsmiths + British School at Rome Summer Intensive Course, themed “Curating the Contemporary”, in Rome in 2017.

Tilting Axis 4 – Caribbean Cultural Ecologies: Connecting Pasts, Presents and Futures

Tilting Axis 4 – Caribbean Cultural Ecologies: Connecting Pasts, Presents and Futures was hosted from May 31st – June 2nd, 2018, by Centro León and Centro Cultural de España in Santo Domingo, in collaboration with Curando Caribe, Santiago and Santo Domingo, Dominican Republic.

The fourth convening of Tilting Axis aimed to shift its location and context to the Hispanophone Caribbean with the theme ‘Caribbean Cultural Ecologies: Connecting Pasts, Presents and Futures’. Artists, curators, stakeholders, instigators and activists gathered to debate ideas about the Caribbean’s interdependent future in relation to culture, the nature, technology and the role of institutions while sharing creative ways which reimagine our collective futures in relationship with our particular environment and with each other.

 

View the full programme for Tilting Axis 4 here

See below for video documentation of the conference, courtesy of the
Centro Cultural Eduardo León Jimenes Youtube Channel:

 

Daisy Diamond’s Fresh Milk Residency – Week 2 Blog Post

Fresh Milk shares the second blog post by US-based international resident artist Daisy Diamond. Inspired by material in the Colleen Lewis Reading Room, Daisy has continued to research the Caribbean, Barbados, and Judaism’s role in society. She has been reflecting on the tremendous effects of complex histories on contemporary realities, and questioning how we can acknowledge this impact while reclaiming, reinventing and growing through our lived experiences and practices. Read more below:

My notebook and sketches from the synagogue and visual motifs from the graveyard

As a medium that lends itself more to imperfect (incomplete) exploration, drawing doesn’t allow for erasure or concealment. To draw could mean to visually conjure something from will or to extract something (meaning, guidance, connection) from a source (history, art, conversation). ‘Drawing’ is a tool, a verb, to pull on a thread and weave together thematic threads gradually. Midway through this residency at Fresh Milk, I continue to build on the ‘spine’ of my visuals and learn more about Barbados beyond what can be discovered at the easel.

Books I’ve been reading from the Colleen Lewis Reading Room collection

One of the books I’ve been reading is The Land of Love and Drowning by Tiphanie Yanique, an author from St. Thomas, an island in the U.S. Virgin Islands. Annalee Davis, artist and founder of Fresh Milk, recommended this incredible work of magical realism and generational family sagas when I asked for an introduction to contemporary Caribbean literature. The novel is a collage of ideas and experiences with shifting perspectives and a variety of writing styles.

Here are two quotes I’ve been thinking about from this book:

“History could do that, change a person’s name. History was something so simple and insistent that none of us has escaped it.”

“People can need each other like water.”

The water that surrounds each island shapes and serves as a witness to its history. A collective history “so simple and insistent that none of us has escaped it,” not our own, each other’s, or the one being written now. In what ways do acts of artistic creation and consumption situate us in a dialogue with history? Rather than in a position of repression or swallowing the legacies of colonialism? The water that swallows the lives of several characters in this story is impartial to their guilt, innocence, or their value to the people who depend on them, who might “need each other like water.”

I recommend this book for its poetic language and thought-provoking, critical analyses of intersecting family histories as Dutch rulers gave way to American ones in the early 1900s in the Virgin Islands. Here is a video of Yanique reading from a passage about protests, beaches, tourism, and so much more.

I also spent one morning this week walking on Bathsheba beach alongside a few swimmers who seemed intimately knowledgeable about the water’s tides and sweeping currents. We were all there, but had acutely different relationships to the waves cyclically consuming themselves. But perhaps not? Maybe they were visitors and in awe just as I was (the limitations of projection). I was reminded of a quote by Hilton Als from an essay, “Islands,” published in 2014. “The sky’s largeness and generosity reminded me of how pitiful I can feel on islands, where one’s ideas about the place amount to so much sentimental or ideological bullshit.” Similarly, Barbados occupies an active place in many imaginary realms as a ‘paradise.’ I have found powerful counterexamples to this homogenous narrative daily through literary, political, and artistic communities and news while at Fresh Milk.

Sir Paul Altman (left), walking on the grounds by the cemetery during a filmed interview

Later in the week, I returned to the Nidhe Israel Synagogue to listen in on an interview of Sir Paul Altman, a leading advocate for the restoration efforts of the synagogue that began in 1986, by Judy Dennison, a cinematographer from Trinidad, and her film crew. Sir Altman described his efforts with the restoration of the synagogue as a “labor of love.” It was fascinating to learn more about the Altman family’s advocacy for the Jewish community and their dedication to preserving history.

During the interview, I also learned more about connections between Barbadian Jews and synagogues in the United States. America’s oldest synagogue, the Touro Synagogue in Rhode Island, where I spent eight months this past year as a student, was founded by Jewish settlers from Barbados. A synagogue in Philadelphia, where I grew up, was financially supported by and had a rabbi who spent years in the Jewish community in Barbados. Again, I was reminded of how this small group of individuals has had a disproportionately large impact across time and geography.

Sir Altman also discussed his horror at the city’s one time plan to build on top of the sacred land where the Jews are buried outside the synagogue. This notion raised a lot of questions for me about how to memorialize sacred land within and beyond this graveyard that was also the site of so much historic trauma and violence – slavery, mass murders, and the displacement of communities. How does the absence of a memorial to this terrible legacy get in the way of a community’s understanding of their ties to history and prevent healing? I have so many questions about how echoes of colonialism and political control are used as justifications for ownership (of land, people, and history) in Barbados and across the world.

In this landscape of sand, sun and sea, I can’t help but think of other ancient land with thousands of years of conflicted ownership and migrations from stolen land to stolen land. Here, we are witnesses through our screens to the horror of the deaths and injuries at ongoing protests in Palestine against the jarring backdrop of formalities performed at the opening of the new US Embassy in Jerusalem.

I am reminded over and over again of Tiphanie Yanique’s insight that “history was something so simple and insistent that none of us has escaped it.” I am thinking of the ongoing protests in Palestine and the land theft justified in the legacy of colonialism and in the name of religion. Reconstructionist Judaism at its core acknowledges our history as one religious civilization among many with parallel histories. It also explicitly seeks to reinterpret and reject Jewish thought that has been historically used to justify the oppression of others. My background in this relatively recent branch of Judaism (founded in 1968) has spurred my interest in ways to engage with spiritual traditions to bring meaning, understanding, and community into daily, and perhaps even explicitly secular, life.

I hope to explore and experiment with religious techniques outside their original contexts to draw meaning and everyday relevance from a text we collectively decide on (poetry, short story, essay, etc.) this Thursday evening, May 17th from 6-8pm, at the Fresh Milk studio space in St. George. Information about this Sacred Practices Reading Group can be found here. Please be sure to RSVP to freshmilkbarbados@gmail.com if you are interested or have any questions! Again, no religious practice or belief is required, just an open curiosity! Hope to see you there.

Sacred Practices Reading Group

Join us for a series of sessions facilitated by our current international resident artist Daisy Diamond, applying traditional spiritual reading practices to non-religious, contemporary or critical material focused on arts, culture and Caribbean thought collaboratively selected from Fresh Milk’s Colleen Lewis Reading Room. These collective ways of reading will be used to analyze and have meaningful, open ended conversations about the texts and how they may relate to lived experiences. The first session will be held on Thursday, May 17th, 2018 from 6pm-8pm at Fresh Milk.

RSVP to freshmilkbarbados@gmail.com to confirm your interest! Directions can be found on the ‘About Page’ of our website.

Statement from Daisy about the Reading Group:

Come together in an open-ended conversation where we will select a text to treat as “sacred” by guiding our reading with a series of spiritual reading practices. The texts will not be religious in content. We will just use these traditionally religious tools to analyze, dig deeper, and test our assumptions. The only requirements for this are an open curiosity and a commitment to dialogue within a community.

As an introduction to sacred reading practices, here are two examples which enable a semi-structured study of texts without a teacher/student hierarchy. Havruta is an ancient, Jewish practice where one student within a group poses a question about a text the group is familiar with. The student who asks the question then proposes one potential answer to their own question and explains their reasoning to the group. The group then challenges, opposes, or builds upon the initial response to the question. This platform for conversation builds both nuance and clarity. Lectio Divina is a Catholic practice for studying Scriptures. One person in the group will randomly select a sentence from the text. We will then pause on it and discuss what the word or passage is calling us to do or become. The random selection generates a surprising point to intentionally and thoughtfully build on.

The point of these practices is not to come to one, unified conclusion. Meaning and purpose proliferate in the disagreement, conversation, and unfolding exploration of interpretations and applications. I am not a theologian, but I am a student interested in building upon my understanding of engaging with texts intentionally and passionately within a community. If you have an understanding of tools to study texts, please come and be a part of this opportunity to teach and learn with others!

I’m interested in discussing a text from the Colleen Lewis Reading Room at Fresh Milk related to creative rituals, collective art practices, arts and revolution, or the influence of cultural tradition on contemporary artists. If any of these topics interest you, or if you have another direction you would like to go in, please join me Thursday, May 17th, 2018 to begin to discuss which text we will use and the methods for sacred reading.

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About Daisy Diamond:

Daisy Diamond is a painter, animator, and student originally from Philadelphia who values interdisciplinary and intersectional collaborative exploration. She is currently pursuing a BA in Studio Art from Bates College and spent this past year as a visiting student at Rhode Island School of Design. While she is a resident at the Fresh Milk space, she plans to research the history of Judaism in Barbados and the relationship between ritualistic sacred practices and artistic creation.