Tilting Axis 1.5 to take place in collaboration with the 19th Contemporary Art Festival Sesc_Videobrasil

The Tilting Axis 1.5 conversation, in collaboration with Southern Panoramas, 19th Contemporary Art Festival, Sesc_Videobrasil takes place at 11am on October 8th with Holly Bynoe from ARC MagazineMaría Elena Ortiz from the Pérez Art Museum Miami (PAMM), Mario Caro from Res Artis and Annalee Davis from Fresh Milk. The conversation will be moderated by N’Goné Fall from GAWLab.

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Tilting Axis aims to promote greater conversations and engagement between professionals working within artist-led initiatives and institutions across the wider Caribbean region, build and redefine historical relationships with those in the North, and establish open dialogue with strong networks emerging globally in the South.

The first meeting was hosted by Fresh Milk in Barbados in February 2015 and Tilting Axis 2.0 will take place at the Pérez Art Museum Miami in February 2016.

Fresh Milk welcomes Rayanne Bushell and Nadijah Robinson to the platform

Fresh Milk is excited to welcome Rayanne Bushell and Nadijah Robinson to the platform as our next artists in residence from October 5 – 30, 2015.

Rayanne, who we first connected with in Glasgow while participating in the International Artist Initiated project in 2014, will be volunteering at Fresh Milk and working with our growing archive of images, while Nadijah, a Canadian artist of Barbadian heritage, will be reconnecting with her extended family to explore her roots and the notion of ‘home’ in Barbados through her artistic practice, including using mixed media collage and fabric work.

Rayanne

About Rayanne:

Rayanne Bushell is a Black British visual artist currently based in Glasgow. Bushell’s work uses photography, text and various printing techniques to reconstruct her family history, using this as a prism through which to investigate post-colonial identities, christianity and community. Research into the history of Black arts in Britain and the lack of representation of Black artists underpins Bushell’s practice; in November 2014 she founded Motherlands a zine for POC artists and writers and in August 2015 she started a pop-up POC Zine Library.

Motherlands was recently included in Visions of the Future: Women, Publishing & Autonomy, Islamic Human Rights Centre, London 2015. In 2015 Bushell collaborated with artist Isaac Kariuki on Shft+Ctrl+Save exploring how marginalised people utilise the internet and social medias as means of creating safe spaces and communities,Shft+Ctrl+Save was shown at Meta Gallery, Miami in May 2015.

Nadijah Robinson

About Nadijah:

Nadijah Robinson is an artist and educator based in Toronto, currently working in the media of Collage, Painting, Performance and Installation. She received her BFA from the University of Ottawa and a BEd from OISE University of Toronto. Working with skills developed from practices such as sewing, silkscreen printing, batik making, filmmaking, collage, painting, and graphic design, her work combines what is needed to construct a particular affecting image, object or experience. A refusal of the premise of a white canvas, or a blank slate, the use of found fabrics, images and other materials acknowledges that no thing comes from nothing. The history, cultural references, and sensory implications of the materials, and sources of the stories she tells all lend their particular significance to the larger artwork.

Nadijah Robinson’s work aims to reflect and archive the stories of communities in which she is strongly rooted, and which are not often represented in conventional art spaces. Through the practice of conducting interviews with community members, Nadijah is able to identify important themes, to highlight significant stories, and to learn directly from community members what they would like to see in artwork that presents itself as being for and about them.

Recent projects include a The Mourning Dress for Trans Black Women featured in Pride in Toronto 2015, a mural completed a mural as part of the Church Street Mural Project in preparation for World Pride 2014, and the curation of a photographic archive of Black musicians and entertainers from the 1930s-70s for the Archie Alleyne Scholarship Fund. She has shown work with the Art Gallery of York University, Gladstone Hotel, Daniels Spectrum, with Nia Centre for the Arts, and as part of the Mayworks Festival for Working People and the Arts.

Transoceanic Visual Exchange Caribbean

TVE flyer McGilchrist

A survey of film and video works in the Caribbean, Africa and Aotearoa, Transoceanic Visual Exchange (TVE) aims to negotiate the in-between space of our cultural communities outside of traditional geo-political zones of encounter and trade. The three spaces involved – Fresh Milk (Barbados), Video Art Network Lagos (Nigeria) and RM (New Zealand) – first met as participants of International Artist Initiated (IAI), a programme organized and facilitated by David Dale Gallery, Glasgow, in July 2014. TVE intends to build upon these relations and open up greater pathways of visibility, discourse and knowledge production between the artist run initiatives and their regional communities through this laterally curated exhibition project, taking place in Barbados, New Zealand, Nigeria and online.

TVE Caribbean will launch at 7pm on October 14, 2015 at Bagnall Point, BIDC Conference Room, Pelican Village in Bridgetown, Barbados as part of the Barbados Visual Media Festival (BVMF). The exhibition will also be open to the public at that location on October 17, 28 & 30 and features works by:

Versia Harris (Barbados), Katherine Kennedy (Barbados), Michèle Pearson Clarke (Trinidad & Tobago / Canada), Romel Jean Pierre (Haiti), Nick Whittle / Alberta Whittle (Barbados), Rebecca Ann Hobbs (Aotearoa), Ngahuia Raima (Aotearoa), Louisa Afoa (Aotearoa), Nkechi Ebubedike (Nigeria) and Lambert Mousseka (Democratic Republic of the Congo).

There will be additional special screenings taking place at Fresh Milk, The Errol Barrow Centre for Creative Imagination (EBCCI) as part of their Film Club Screenings and Barbados Community College (BCC):

October 16, 6pm – Fresh Milk, St. George
Rebecca Ann Hobbs – Mangere bridge 246 / Otara at Night (Aotearoa)

October 22, 7pm – Errol Barrow Centre for Creative Imagination
Darcell Apelu – Slap (Aotearoa)
Akwaeke Emezi – Ududeagu (Nigeria)
Carlo Reyes – Viernes Santo (Dominican Republic)

October 29-30, 10am-4pm – Morningside Gallery, Barbados Community College
Olivia McGilchrist – Riva Mumma (Jamaica)
David Gumbs – Offscreen (St. Martin)

RSVP to the event on Facebook here.

For more information please visit www.transoceanicvisualexchange.com, or email Natalie McGuire at tveproject.caribbean@gmail.com.

Special thanks to the Barbados Film and Video Association (BFVA), EBCCI, BCC and Stansfeld Scott Inc. for making these screenings possible, and to Versia Harris and Katherine Kennedy for designing the logo, digital space and flyers.

Open Call: Fresh Milk International Residency 2015 or 2016

FM International Residency Poster_Aug 2015

FRESH MILK is seeking proposals from artists working outside of Barbados to apply for our international residency programme in late 2015 or Spring 2016. Available dates for the residencies to take place are between November 2 – 30, 2015 and February 29 – March 25, 2016.

This residency aims to support visual artists, writers and curators by offering a peaceful working space for a minimum of 4 weeks for creative production, the opportunity to interface with contemporary practitioners living and working in Barbados, access to the on-site Colleen Lewis Reading Room, the chance to broaden understanding of the work being produced locally and regionally in the Caribbean, and to strengthen international networks and relationships. For more information on the residency, application process and associated costs, please visit our International Residency Opportunity page.

The deadline for applications is October 2, 2015.

To see the blogs kept by our past International resident artists, click here.

Saada Branker and Powys Dewhurst – Week 4 Blog Post

In the last blog post about their time in Barbados, Fresh Milk‘s international writer-in-residence Saada Branker fretted about missing out on the beauty of the country. Given all that she and filmmaker Powys Dewhurst encountered in the first few weeks on the island as they diligently collected information and footage for their documentary memory project commemorating Hurricane Janet’s 60th anniversary, the obvious had escaped her. Read more about her final revelations below:

Standing on serene farmland with no beaches in sight

Standing on serene farmland with no beaches in sight

“You cannot leave Barbados without eating your mango in the sea.” I was told.

Experiencing such a rite of passage in my parents’ birthplace had me giddy. Before arriving in Barbados, I was all about the beach. I practically bragged to my Toronto girlfriends that I would interview and research everything I could find on the 1955 hurricane, but I also intended to make it out to sunbathe a couple times a week. “I’ll write daily, read, and relax on the beach,” I explained. “And I’m going to sketch—my feet in the sand and the waves rolling in.” Clearly, I was cocky in my delusion; as if there was only one place I could ground myself.

By our fourth week in the Fresh Milk residency, my ashy foot was still dry.

Truth told, on this residency, I was immersed in something deeper and more compelling than the thrill of only sun and sand. Being in landlocked St. George, I was walking in the country, divining dimensions of my environment and what it means to be touched by nature, yet humbled by our inability to control it. Case in point, the unknown series of events that resulted in a deluge of sargassum seaweed washing up along beaches in Christ Church and the East Coast —a hemorrhaging compared to what Barbados has received each year since 2011. Here was an inexplicable increase of the sea’s yield, which prompted the tourism sector to beg Mother Nature for mercy. Swimmers were wishing aloud for a quick return to the pristine beaches and crystal clear waters. Amid the frustration and near panic, the inquisitive Barbadians started asking what long-term environmental benefits could be gleaned from the endless mounds of foul-smelling seaweed. Could the sargassum help prevent soil erosion? Could it enrich agricultural soil as fertilizer?

At the start of our last week, the rain fell like currency from the sky. “Since January!” This exclamation was the outburst we’d often hear from Barbadians as they revelled in the close to a six-month dry season. For me and Powys, the first downpour dampened our mood because we had to reschedule two interviews that day. Any filming outdoors was a no-go. There were reports of flooding in certain areas, and one of our interviewees called to reschedule when her balcony accumulated too much rain water—the same spot she intended to have us set up. As the much-needed moisture soothed the scorched earth, I realized how narrow my perspective was about “good weather.” With the gift of raindrops, moods lifted. Bajans spoke of the daily drenching with appreciation. Again, I had been looking at it all wrong.

Our Hurricane Janet chase was really was about exploring these environmental gifts handed from nature along with the losses reaped. People we interviewed opened their homes to us and shared their gems. When the camera recorded, they spoke almost dutifully of childhood memories and family life, describing how Hurricane Janet fit within the layers of their experiences. After the filming, one host offered us freshly squeezed lemonade, compliments of the trees in her beloved yard. Days before leaving, we received a warm loaf of home-made coconut bread from another host. She surprised us the week earlier with the most scrumptious zucchini bread I’ve had in years. Another interviewee invited us back to her home for tea, and on that occasion she handed Powys two mangos picked from a tree in her garden.

The spirit of generosity was also present within the country’s institutions and businesses. Sitting at Barbados Government Information Service, we reviewed silent, black-and-white footage of Hurricane Janet’s aftermath. In it, forlorn Barbadians sifted through debris. I was reminded of the weakness of our constructed environment. The displaced families living in schools for weeks on end revealed a disturbing reality about the impact of a Category-3 hurricane on the economy. As Tara Inniss of UWI’s history and philosophy department explained on camera, a natural disaster like a tropical storm exposes “the deficiencies” in a country’s infrastructures. In Barbados sixty years ago, those vulnerable spots would be found in housing, fisheries and communications, especially involving hurricane preparedness.

To be standing in the sea’s rolling waves today, indulging one’s senses in the sweet juices of a much-revered fruit, is not a bad indoctrination at all. It conjures that heady spell we fall under, gazing at our environmental geography in all its beauty. Such exquisite gifts of nature often have us assuming they will always be there independent of humankind’s interference or incompetence. But times are cyclical in nature. During an economic downturn it becomes even more important to cultivate, protect and preserve our environment with the respect it deserves, and inevitably demands, as Barbados learned late September in 1955.

I did indulge in my gift of a mango picked from a yard tree. But instead of the sea, I sat eating my fruit on Fresh Milk’s studio platform minutes before we started a workshop on writing. It was my private moment to receive and give thanks. There on farmland, I got to pass my own rite—forever touched by the countryside’s warm breeze and cacophony of earthly melodies.

Our very special thanks to Andrea King, Janice Whittle, Charles Phillips, Natalie McGuire, Top Car Rentals Barbados, Barbados Government Information Service, Barbados Museum & Historical Society, Above Barbados, The National Cultural Foundation of Barbados, The University of West Indies History and Philosophy Department, Southern Rentals Barbados, St. George Parish Church, ArtsEtc, and Fresh Milk Barbados for their contributions and for facilitating our interviews during our stay.