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!

Ronald Williams’ Fresh Milk Residency – Week 4 Blog Post

Barbadian artist Ronald Williams, the recipient of the 2018 Fresh Milk ‘My Time’ Local Artist Residency, shares his final blog post. Ronald describes the last stretch of his residency as “bittersweet” for a number of reasons. Taking part in the second session of fellow resident artist Daisy Diamond‘s reading group yielded fruitful discussions, but was coupled with having to bid her farewell shortly after. Ronald also felt a renewed sense of clarity and conviction about the work he has been creating, but this was catalyzed by an unfortunate event that is telling of serious societal issues in Barbados. Read more below:

Last blog post I stopped at the end of Tuesday afternoon’s meeting with the class 4 students at Workman’s Primary. That same evening turned out to be an equally enjoyable exercise of a different sort. I had the pleasure of being a part of a sacred reading session, spearheaded by Daisy, where we engaged in a critical dissection of a few paragraphs of Paulo Freire’s Pedagogy of the Oppressed. I thought the discussions that arose from the text, as well as the tangential ones, were all pretty dope. Reading and learning like this is something I’d recommend to any person(s) seeking an in depth appreciation for what they are studying.

Unfortunately, the rest of the week took a bittersweet turn with an emphasis on the bitter portion of that concoction. Tuesday evening was to be the last day I saw Daisy, as her time in Barbados came to an end shortly after. A shame, as I felt I had gotten to know more about her in the last few times we were in the space together. I wish her the best.

Then on a heavier note, serious, senseless but thankfully not tragic events unrelated to Fresh Milk occurred on what was to be my last day of the residency. While not affecting the space, these events did have a negative effect on my state of mind and mentality. It also got me thinking about the multiple times I’ve been asked why my work deals with certain subject matter by strangers and even family members. If I needed something to galvanize the conviction I have for what I’m trying to do with my work, it was what happened that morning.

I did manage to finish the piece I’d been working on the week before. That’s the silver lining from the latter half of week 4. I called it Noose-sense. An obvious play on the word nuisance, but I don’t think the reading of the piece will be as obvious. I like that.

All in all, what can I say at the end of these 4 weeks? It was quick, much quicker than I thought it’d be. I didn’t get as much done from the production side as I intended, but it doesn’t feel like a waste. If anything there’s a significant clarity in exactly what I want to do; now it’s just a matter of execution.

Daisy Diamond’s Fresh Milk Residency – Week 3 Blog Post

Fresh Milk shares the third blog post by US-based international resident artist Daisy Diamond. Daisy recounts her return to the Nidhe Israel Synagogue in Bridgetown, where she contemplated the Jewish mikveh ritual and related it to her wider experiences in Barbados. The first session of her sacred reading practices group also took place this week, and the collaboratively chosen text for thoughtful reflection was Paulo Freire’s ‘Pedagogy of the Oppressed’. Read more below:

I returned to the Nidhe Israel Synagogue early this week to visit one of the oldest mikvahs in the Americas. Mikvahs are traditionally used for ritual purification practices in Judaism and ones like this with fresh running water are said to contain “living water.” According to the Old Testament, the spiritual (rather than physical) cleansing power of this natural water source moved through this bath. If the water became blocked within the vessel, it became “drawn water” and was invalid for mikveh rituals. This reminded me a bit of other rituals of immersion, whether in literal, social, or mental spaces and how stagnancy or movement affect those processes.

There are also connections between these ritualistic, religious submersions and the intentions of those doing them. Some people say pre-written prayers of intention or individual prayers from their heart, like what they hope to experience from their immersion. In some ways, I felt a parallel again between this and the experience of feeling submerged in unfamiliarity with specific intentions to learn and create.

Later in the week, I held a sacred reading practices group at Fresh Milk. I tried to create a space with intention for the folks who showed up to have an engaging conversation. After discussing several religious reading practices, we collectively chose to read Pedagogy of the Oppressed by Paulo Freire, a book about education, humanization, relationships within society, and so much more. We took turns reading out loud and tried out some of the sacred reading techniques. These naturally led to conversations about how to define oppression, understand/address disparity, and take responsibility for action.

By framing this conversation in a certain way, we meaningfully engaged with a text and had a very challenging, thought provoking discussion that will be continued at a second reading group during my last week. I have been thinking about how these conceptual frameworks translate to visual symbols or could be explored further in images. I have also been looking at encyclopedias of sacred symbols and myths in the Colleen Lewis Reading Room and taking notes. Visuals are slowly coming together and writing/reading has been a huge part of that process…

A quick drawing of fires in the sugar cane fields I passed while driving near St. George.

 

Ronald Williams’ Fresh Milk Residency – Week 3.5 Blog Post

Barbadian artist Ronald Williams, the recipient of the 2018 Fresh Milk ‘My Time’ Local Artist Residency, shares his blog post for the three and a half week mark in the studio. This part of the residency was largely focused on production, taking the research and influences of previous weeks to experiment with pattern-making and digital collage. On Tuesday May 22nd, Ronald also led a collage & portrait workshop with a group of Class 4 students at Workmans Primary School as the community outreach component of his residency, where the children looked at African masks for inspiration and got creative and expressive with materials. Read more below:

Week 3 Monday saw me start what I fully intended to be a productive week in solitude. Both Katherine and Daisy were out at the Barbados Museum and the Jewish Synagogue respectively, so I took advantage of my little alone time and was a DJ for a while. Side note: K. O. D. and Without Warning are hard and I’m a lot late to the party but Migos’ two albums are better than I thought they would be. Judge me.

So, first order of real business was to create the pattern I had in mind. The base design is actually the amalgamation of various prints, cut and pasted together in Photoshop and laid on top of a photo of a piece of black fabric. Took much longer than I needed it to. That base image was then flipped, duplicated, pieced together and the process repeated until I got what I wanted. With that, the day was almost up.

I worked on this piece for the rest of the week, getting lost midway, questioning what exactly I was trying to say with the piece and if I could properly translate how I felt without the reading of it going very left. We’ll see.

Week 4 Monday was spent preparing materials for an African mask inspired portraiture collage project that I, along with Katherine and Daisy, would conduct  with the Class 4 students at Workman’s Primary School the next day. This project, which was my community outreach portion of the residency, was my personal highlight of the last week and a half. Daisy, Katherine and I all ended up making one. It was fun.

All things considered, a relatively complicated week and a half where everything didn’t go to plan, but an ultimately satisfying one.

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.