Open Call: Transoceanic Visual Exchange 2019

The Fresh Milk Art Platform (Barbados), China Residencies (NY and China), The Barbados Museum and Historical Society, I: project space (Beijing) and Alice Yard (Trinidad & Tobago) are pleased to welcome submissions of recent film and video works – screenings, installations, new media and expanded cinema – by contemporary artists, to be included in the third edition of Transoceanic Visual Exchange (TVE), a series of programmes taking place this year between Barbados, China and Trinidad & Tobago. Submitted works must have been completed in the last five years and must be made by artists practicing in the Caribbean, China and their diasporas.

TVE will be a collection of recent artists’ films and videos from each region. However, the final shape and content of the programme will be informed by a community curatorial process, which aims to involve and promote discussion within the wider arts communities of each participating initiative.

Working between the Caribbean, China and their diasporas, TVE aims to negotiate the in-between space of our cultural communities outside of traditional geo-political zones of encounter and trade. TVE intends to build relations and open up greater pathways of visibility, discourse and knowledge production between the regional art spaces and their communities.

Submission Requirements:

  • Must be work from artists practicing in the Caribbean, China  and their diasporas;
  • Must be work that has been completed/made in the last five years;
  • Can be films of any length (shorts, experimental, features and video artworks);
  • Can be in any language (films originally produced in regional languages are welcome);
  • Multiple submissions are welcome;
  • Must be accompanied by a description of the work (500 words max), a bio (200 words max) and details of any technical requirements i.e. audio, installation, equipment required, preferred setting etc.;
  • Works must be in the form of mp4 files no larger than 100MB, or private Vimeo / Youtube links (please provide passwords);
  • Works must not have been submitted to previous editions of TVE;
  • Please specify whether your submitted works have permission to be exhibited on an online space.

Deadline for submissions: 28th June 2019

The online submission form can be found here.

Please direct any queries about Caribbean submissions to: tveproject.caribbean@gmail.com
Please direct any queries about China submissions to: nihao@chinaresidencies.com

For more information on TVE and its first two iterations, visit the TVE website.

____________________________

About the TVE 2019 Partners:

Fresh Milk

Fresh Milk is an artist-led, non-profit organisation founded in 2011 and based in Barbados. It is a platform which supports excellence in the visual arts through residencies and programmes that provide Caribbean artists with opportunities for development, fostering a thriving art community.

Fresh Milk offers professional support to artists from the Caribbean and further afield and seeks to stimulate critical thinking in contemporary visual art. Its goal is to nurture artists, raise regional awareness about contemporary arts and provide Caribbean artists with opportunities for growth, excellence and success.

Website: freshmilkbarbados.com
Facebook, Instagram and YouTube: FreshMilkBarbados
Twitter: FreshMilkBdos

China Residencies

China Residencies is an online and New-York based nonprofit founded in 2013 by Crystal Ruth Bell & Kira Simon-Kennedy. Since then, China Residencies supported over 50 artists and collective projects in mainland China and Hong Kong. China Residencies supports a network of over 40 different residency programs through openly accessible website, and supports the next generation of artists, activists, and arts administrators through fellowships, exchanges, and fiscal sponsorship.

“We believe diplomacy shouldn’t just be left up to politicians. Artists are cultural and social changemakers, and, in a world where people sometimes forget to listen to and learn from one another, we are passionate about creating opportunities for artists to bring a broader cultural understanding into their work and communities.”

Website: chinaresidencies.com
Facebook: chinaresidencies
Twitter: chinaresidency
Instagram: china_residencies

The Barbados Museum and Historical Society

The Barbados Museum and Historical Society (BMHS) is a non-profit, non-governmental organization with a membership of over 1,000 individuals and companies. A fourteen-member Council and the Director are responsible for its policies and operation. Nine council members are elected annually from the membership of the BMHS; the remaining five are appointed by Government.

The mandate of the Barbados Museum and Historical Society is: To collect, document and conserve evidence of Barbados cultural, historical and environmental heritage; and to interpret and present this evidence for all sectors of society.

Website: barbmuse.org.bb
Facebook, Twitter and Instagram: BarbadosMuseum

I: project space

I: project space is an augmentation of what a contemporary art institution can be, by using the freedom that comes along with running an independent practice. The space is located in the old Hutong area of Beijing and is combining an exhibition space with a residency studio for visiting artists from China and abroad. Taking its location in the center of Beijing but outside the art districts as a premise, I: project space engages in bringing an interaction with art back into the daily life.

Collaborating with local and international cultural producers, I: project space is constantly building networks with like-minded spaces all over the world to share information and to expand the impact of the independent art scene. Dedicated to build support structures for artists and open possibilities for long-term dialogues between artistic, curatorial, research and other modes of knowledge production.

Exchange and dialogue should not become empty phrases, but have to be implemented into actions. The programming of the space is framing the residency and exhibitions with an ongoing discourse about current questions on contemporary art.

I: project space aims to encourage innovative and investigative approaches, crossing borders between different creative disciplines, cultural identities, geographical locations, political economies, crafts and new technologies. By placing emphasis on the open dialogues, I: project space looks to foster experimentation, collaboration and interdisciplinary exchange.

Website: yi-projectspace.org
Facebook and Instagram: Iprojectspace

Alice Yard

Alice Yard is the backyard space of the house at 80 Roberts Street, Woodbrook, Port of Spain. This was once the house of Sean Leonard’s great-grandmother. Four generations of children played and imagined in this yard, and now we continue this tradition. Alice Yard is a space for creative experiment, collaboration, and improvisation.

Alice Yard is administered and curated by architect Sean Leonard, artist Christopher Cozier, and writer and editor Nicholas Laughlin, with the help of a growing network of creative collaborators. Alice Yard is a non-profit organisation incorporated under the laws of Trinidad and Tobago.

Since 2008, Alice Yard has run a residency programme hosting artists, curators, and other creative practitioners.

Website: aliceyard.blogspot.com
Facebook & Twitter: aliceyard
Instagram: aliceyardinsta

Fresh Milk Welcomes Marianne Keating to the Platform

Fresh Milk is pleased to welcome Irish artist Marianne Keating to the platform between March 11th – April 18th, 2019.

Landlessness, 2 Channel Video Installation, StudioRCA, London 2017.

Residency Statement:

Harnessing post-colonial and archival theory to analyse the migration of the Irish diaspora to the Caribbean during Ireland’s colonial rule by Britain, my research focuses its attention on the complex histories of the movement of Irish indentured labourers from Ireland to the Caribbean.

My focus in Barbados addresses the subaltern ‘poor whites’ community on the East Coast of the island, who are believed to be direct descendants of indentured labourers from Ireland, England, Scotland and Wales who arrived in the seventeenth century, although through creolisation their direct origins can no longer be determined. During my residency at Fresh Milk, I aim to visit and document regions related to this community in the villages of the parish of St John where the ‘poor whites’ still live today and other sites of importance including the “vanishing villages” of Irish Town and Below Cliff. The analyses of this material and sites are fundamental to my research and development of my practice-based output, which involves the gathering of oral histories through interviews, film footage, research and documentation.

Excavating the official government documents at the Irish, English, Jamaican and the Bajan National Archives, alongside on-site investigation of other remaining visual and material traces, and through new oral histories, I begin to reconstruct this history.  Accumulating these disregarded and overlooked traces of different histories, I seek to insert a series of previously muted or silent voices into the archive and to give them presence through my practice-based work as an artist-researcher.

Situating my practice within the historiographic turn in contemporary art discourse and in relation to the Archive, notably through the examination of unrecorded, private and disregarded histories, my multi-disciplinary approach to the research, the archival record and the archival image questions the legitimacy of the archive and falsification within the recorded image and text. My research involves the gathering of oral histories through interviews, film footage, analysis, documentation and re-documentation. Through my research and the study of archival theory, I wish to challenge the definitions and meanings of the archive itself. By recovering photographic and textual traces, which had been consigned to disappear within the archive, I question what the archive remembers and what it forgets; for whom and for what purpose. By investigating collective, social and individual memory through a series of video interviews, I accumulate accounts and memories of a particular time and consider how they have been affected by the passage of time. My engagement with archival and personal accounts and embodied memories positions my research as anti-monumental, counterpoising monumental official state histories, and developing strategies to address excluded narratives, enabling previously muted voices to inform a counter-narrative assembled through creative practice, exhibition and written accounts.

About Marianne Keating:

Marianne Keating graduated with an MA from the Royal College of Art, London, and a BA from Limerick School of Art and Design, Ireland. She has exhibited extensively including exhibitions in London, Paris, New York, Melbourne and Shanghai. She is currently preparing for upcoming solo shows for the Crawford Art Gallery, Cork, Ireland and Rampa Gallery, Porto, Portugal. Recent group shows include New Contemporaries, South London Gallery and as part of the Liverpool Biennial; Arrivants: Art and Migration in the Anglophone Caribbean, Barbados Museum and Historical Society, Bridgetown, Barbados and Between Us And, Embassy Gallery, Edinburgh, Scotland (2018). 

Tilting Axis Collections and Commissioning Fellowship 2019

The Tilting Axis Fellowship is a direct outcome of the Tilting Axis meetings in 2015 at Fresh Milk in Barbados, in 2016 at the Pérez Art Museum Miami and in 2017 at The National Gallery of the Cayman Islands. For its 2019 iteration, Scotland based cultural partners including the Glasgow School of Art, The School of Art History at the University of St Andrews, CCA Glasgow, LUX Scotland, Hospitalfield and curatorial duo Mother Tongue have come together to offer support for a research fellowship to Scotland for an emerging contemporary art practitioner living and working in the Caribbean to share knowledge about current approaches towards commissioning and collecting in the arts.

For Whom?

Curators, researchers, artists, or cultural producers based in the Caribbean region who want to make new links in Scotland and have a keen interest in developing their curatorial practice. Applicants must have a working knowledge of English.

Goals

  • Develop, stimulate, support, and visualise curatorial and artistic realities coming from the Caribbean region;
  • Facilitate face-to-face communication in Scotland;
  • Offer free and open access to knowledge and practices;
  • Provide a stable platform for professional experiences;
  • Produce critical knowledge on educational tools as well as visual culture;
  • Focus on emerging practices;
  • Utilise the existing Tilting Axis network;
  • Offer practical support for the duration of the research trip in Scotland.

This Fellowship opportunity focuses on the development of pragmatic and critical curatorial and artistic practice hailing from the Caribbean region, and is research and practice-led, and mentor-based. The fellow will be invited to Scotland for up to one month from 1 October 2019 to undertake a period of open-ended research and development. Artists or curators may apply to undertake research for a mode of curatorial practice. The Fellowship is focused on alternative forms of Collections and Commissioning, in collaboration with partners across Scotland whose work focuses on various forms of collecting, archiving or supporting the development of artworks.

Within the Tilting Axis annual convenings, complexities of mobility, the politics of archiving, access and privilege, decolonisation, institutionalism, curatorial knowledge, pragmatics, and social realities have surfaced as keywords of urgency within Caribbean cultural ecosystems. We seek proposals that engage with the unique visual culture available in the Caribbean and what might be learned from its unexpected and innovative approaches. The Fellowship has an open-ended outcome, offering support for critical development of curatorial or artistic practice while giving a practical base within partner organisations to research different methodologies and institutional approaches.

Drawing on the specifics of the Caribbean region through processes of decolonisation, race, mobility, access and privilege and digitalisation, your proposal might approach actively how people live and work, and especially how contemporary art takes a responsibility to reflect and act on it. What are fears as well as potentials in these current times? Within such a complex geography, what are the challenges? What are the interventions? The Fellowship might support and expand these conversations on a mutual basis.

More information about each organisation’s core interests can be found below. It is expected that the Fellow will focus on a period of research with each organisation to mutually address some of these questions across the month-long residency.

The fellow will receive a fee of £1500 and a per diem to cover expenses and living costs whilst in Scotland. All travel and accommodation costs will be covered by the host partners. An itinerary of travel, meetings and public events will be arranged in collaboration with the successful applicant and partners, prior to the fellow’s arrival. The budget will be managed by the partners, and includes a winter clothing allowances of £300. The Fellow is also expected to participate in a public event or lectures in two or three Scottish locations, to share their knowledge, context and practice.

A contribution to the public blogs of British Council and CCA Glasgow as well as the Tilting Axis website will be required along with a final report on the Fellowship. Tilting Axis partners will work towards funding additional funds for the fellow to attend Tilting Axis 6, (location tbc) where the fellow can present on their experience.

Application

Applicants for the Fellowship are invited to develop an independent proposal outlining a clear interest in the issues 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 but will be expected to speak publicly about their ongoing research or interests whilst in Scotland.

Departing from a curatorial or artistic ambition, we expect to see a statement of intent of maximum 1000 words. This statement should explain the fellow’s research focus, respond directly to the keywords and thematics raised in the call out, and highlight reasons for visiting Scotland and/or the partner organisations. A separate artist/curatorial statement can also be supplied. Please also include a CV and two references, and an indication of availability from early October 2019.

The application should be submitted via e-mail to: Ainslie Roddick, CCA Glasgow Curator: ainslie@cca-glasgow.com.

The deadline for submission is 15 April 2019.

For more information on the fellowship and the partners, visit the Tilting Axis website here.

 


Tilting Axis 5 – Beyond Trends: Decolonisation and Art Criticism

The fifth convening of Tilting Axis is set to take place in Pointe-à-Pitre, Guadeloupe in collaboration with Mémorial ACTe, Guadeloupe, a contemporary museum offering historical exhibits on the Caribbean’s slave & indigenous people from May 30th – June 1st, 2019 coinciding with Guadeloupe’s anniversary of the abolition of slavery in the last week of May.

Tilting Axis 5 “Beyond Trends: Decolonisation and Art Criticism” will explore the theme of decolonisation to think beyond its currently popular usage as cultural and institutional critique. Unlike its application to specific sites and processes, has decolonisation been a constant and ubiquitous practice in the Caribbean? This gathering will re-consider the currency of these discourses, identifying site-specificity within the Caribbean. For example, what does it mean for art institutions to negotiate decolonisation after postcoloniality? What different approaches can be deployed in decolonizing discourses-specifically in relation to art criticism–and made more visible in spaces where their prevalence renders them invisible?

Examining the roles of artists, curators, educators, arts managers, scholars, art writers and critics, arts managers and policy writers, etc., we will consider how to strategically involve discourses on decolonization that are useful for the Caribbean’s cultural sector.

With limited space, please confirm your interest in attending by emailing tiltingaxis@gmail.com no later than the extended deadline of Friday, March 15th 2019.

Tilting Axis delegates are required to pay a registration fee of USD$75.
Registration fee is waived for local delegates.

Fresh Milk’s 2018 Year in Review

Thank you for your continued support of Fresh Milk.

We recognise that the creative landscape across Barbados and the Caribbean has transformed in recent years, bringing with it new opportunities, challenges and developments.

We have decided to take 2019 to review our programming to consider how best we can serve the local, regional and international contemporary arts community in the future. We wish to remain as relevant and as constructive as we have been over the past seven years.

Fresh Milk remains open to potential partnerships while maintaining its commitment to Caribbean LinkedTilting Axis and Transoceanic Visual Exchange. We are considering a reduced number of residencies per year, with a dedicated concentration on the Colleen Lewis Reading Room as a critical resource for the residency programme. 

For now, we invite you to reflect on 2018 with us in
our annual year in review newsletter