Tag: Cyprus Dossier

Article featured in the Cyprus Dossier: Notions of common/wealth versus single/wealth

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The 7th edition of the Cyprus Dossier, launched this summer during the International Artist Initiated project hosted by the David Dale Gallery in Glasgow, Scotland, featured an article titled ‘Notions of common/wealth versus single/wealth‘ written by Fresh Milk‘s founding director Annalee Davis. Read the piece below:

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“Global art is not only polycentric as a practice, but also demands a polyphonic discourse. Art history has divided the world, whereas the global age tends to restore unity on another level. Not only is the game different: it is also open to new participants who speak in many tongues and who differ in how they conceive of art in a local perspective. We are watching a new mapping of art worlds in the plural which claim geographic and cultural difference.”[1]

The Fresh Milk Art Platform Inc., founded in 2011, is located on a dairy farm on the island of Barbados in the Southern Caribbean. We are one of several artist-led initiatives continually emerging across the archipelago supporting contemporary art production and the shaping of critical communities in the region. The local contexts these Caribbean artist networks respond to is the lack of formal institutions to meet artists’ needs, such as a national art gallery or a museum of contemporary art with a mandate to support the production, discussion and visibility of contemporary practice.

Artists in the region are functioning in an arena with relatively small local audiences, underdeveloped primary art markets and, in most cases, non-existent secondary markets for contemporary art works with very few spaces to exhibit. A challenge this poses is that much of the artwork produced in the region is exhibited, appreciated and valued outside of the region where more developed creative environments function, creating a gap between artists and their domestic audiences. Artist-led initiatives have been working to bridge this gap by creating opportunities for creatives to engage with local audiences.

Fresh Milk responds by (i) offering residencies for local artists to produce work and nurture critical thinking, (ii) expanding the reading room to acquire material focusing on contemporary practice from within the region and around the world, not available anywhere else on the island, (iii) activating the reading material through establishing mentoring opportunities for young people who write critical reviews of the book collection shared through the Tumblr page – Fresh Milk Books – The books that make us scream!, and (iv) staging public events providing local audiences and artists moments to engage with each other, along with other activities.

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While recognizing the importance of nurturing the local environment, Fresh Milk is equally committed to participating in larger and more diverse conversations regionally. Common obstacles rippling throughout the region’s creative sectors act as unifiers, giving rise to geographical connections among artists across the Caribbean who share in these frustrations and resulting in the formation of many of these artist-led initiatives and collaborations.

Fresh Milk’s online interactive mapping project reconfirms our regional identity and functions as a transnational exercise demonstrating the presence of a myriad of arts entities across the Caribbean from the nineteenth century till now – refuting the fact that we are a divided space as determined by former colonizers who used dominant languages to separate the region linguistically. Consolidating regional art spaces into one, the readily accessible online map also acts as a crucial educational and research tool for locating historical and current data about Caribbean art, broadening both local and international knowledge, awareness and collaboration. Mapping becomes an act of resistance as we become our own cartographers, insisting on connection rather than division and relationship as opposed to discord. The map also resists the notion that there is a central and singular art world of which we are peripheral.

While it maybe true that, as Amanda Coulson wrote in the Frieze April issue, ‘The idea that anything intellectual happens here is anathema to the brand we have projected to the outside world’,[2] this map opposes the reductive way in which the Caribbean has been branded repeatedly as an exotic playground for people from elsewhere.

Fresh Milk has worked with partners in the region to establish a regional residency project called Caribbean Linked.[3] This project brings artists throughout the region to make and exhibit art, engage in critical dialogue and build relationships, while using the arts to foster a more unified Caribbean.

As our relationships spread beyond the insular Caribbean, our programming expands to reflect the shifting dynamics of our engagements. Nurturing our core foundation in the Caribbean equips us to build robust, meaningful connections internationally – not seeking validation, but rather mutually enriching cultural exchanges. Fresh Milk is continually fostering critical conversations with entities throughout the Caribbean, in the Global South and traversing the North/South axis of the world to holistically realize a healthy cultural ecosystem.
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Mapping the Commonwealth with “Glasgow’s Finest”

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Alberta Whittle shares her thoughts on the recent International Artist Initiated (IAI) project in Glasgow, presented by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme which took place alongside this year’s Commonwealth Games. Read more below:

Photograph by Rayanne Bushell

Representatives of Clark House Initiative, RM, Video Network Lagos, Fresh Milk; Alberta Whittle and Rayanne Bushell

 “In 1884 the Earl of Rosebery visits Australia and asks, ”Does the fact of your being a nation… imply separation from the Empire? God forbid! There is no need for any new nation, however great, leaving the Empire, because the Empire is a Commonwealth of Nations“.”[1]

In the summer of 2014, the Commonwealth Games arrived in Glasgow. Much like any travelling circus, the Games brought believers, performers, participants and an audience. Like any participant, I came to Glasgow with my own expectations. Having lived in the city for many years, but failing to assimilate completely, I still feigned the confidence that comes so easily for those who know the area. Sharing a taxi ride, with the self-proclaimed “Glasgow’s Finest”, the driver quizzed me on my knowledge of the city’s geography, asking me where roads connected, easily highlighting my failure to truly belong to Glasgow. The driver insisted on informing me that Glasgow’s taxi drivers were always known as “Glasgow’s Finest”, and I was not allowed to forget it.

During this trip, over many conversations with “Glasgow’s Finest”, a discourse of belonging and not belonging readily emerged. The drivers often assumed Barbadian artist, Annalee Davis and I were Americans, our accents blurring into a vague sense of foreign-ness. They asked why we were here, and when we explained about our project as part of the Commonwealth Games, they in turn spoke of how the Games were not for Glaswegians. The Games’ faux presentation of multiculturalism and the promotion of the idea that we are all in this together confronts the reality that, for many Glaswegians, there is a disconnect between their participation on home soil and the participation of the athletes and visitors flown in to contribute to the spectacle of imagined unity. The notion of unity between us, members of a former British colony, and Glaswegians, a nation grappling with securing their own independence, came from an unlikely direction. Driving through the Merchant City we passed roads such as St. Vincent Street and Jamaica Street; easy reminders of Glasgow’s active role within the slave trade as members of the plantocracy and as indentured servants. However, “Glasgow’s Finest” posited the belief that Caribbean and Scottish nations must be united against the English, advocating the belief that Scots also faced “oppression” from England. This supposition did not entirely surprise me, given the political climate surrounding the upcoming Scottish Referendum.

From the banners, traffic diversions and the odd, green mascot called Clyde dotted across the city, the aura of the Commonwealth seeped into Glasgow’s public spaces. As part of the celebrations, the David Dale Gallery in Glasgow’s East End invited artist-run spaces from across the Commonwealth:  Fillip (Canada),  RM (New Zealand), Cyprus Dossier (Cyprus), Fresh Milk (Barbados), Video Art Network Lagos (Nigeria) and Clark House Initiative (India) to participate in their International Artist Initiated programme.

Photograph by Rayanne Bushell
Photograph by Rayanne Bushell
Photograph by Rayanne Bushell
Photograph by Rayanne Bushell

As part of the Fresh Milk platform, Mark King, Ronald Williams and myself presented a series of interventions. Responding to the commercial nature of the area, we crafted three individual presentations. The location of the David Dale Gallery within the heart of the East End of Glasgow – once a thriving industrial boomtown – seems peculiarly apt, mirroring the substantial role of production Britain’s former colonies assumed, laying the foundation for the industrial revolution. These same former colonies are now re-positioned as independent nations, members of the Commonwealth, exhibiting artwork in their own image. The recent deterioration of Glasgow’s prominence in manufacturing, where production is now outsourced to these former colonies, lends symmetry to the proceedings.

 “Internet ultimately offers both the seductions and subductions of a postmodern “world.”’ [2]

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International Artist Initiated

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Fresh Milk was very excited to travel to Glasgow this July to participate in the International Artist Initiated (IAI) project, presented by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme which took place alongside this year’s Commonwealth Games. See below for more information and images from the project.

All photos taken by Rayanne Bushell.

About IAI:

International Artist Initiated is a programme of exhibitions and events devised by David Dale Gallery to coincide with the Glasgow 2014 Commonwealth Games. Developed over the past year, the project acted as a catalyst for discussion and collaboration between artist initiated projects internationally. The structure of the project was designed to be malleable and open source, in that it can be taken and applied elsewhere with different organisations.

Working with artist initiated, or focussed, organisations from across the six Commonwealth territories, the programme consisted of a series of exhibitions and events by the invited organisations that responded to either the context of the Commonwealth Games within Glasgow, or was representative of contemporary culture within their nation through the lens of an artist-led organisation.

The contributors to the programme were:

Fresh Milk, Barbados
Fillip, Canada
Cyprus Dossier, Cyprus
Clark House Initiative, India
RM, New Zealand
Video Art Network Lagos, Nigeria

Take a look at some picture from the opening night of IAI here:

Fresh Milk’s contribution to IAI was in two parts. The first saw the installation of works by three emerging artists on billboards, on railings and on the surface of the sidewalk. The artists include a recent graduate from the Barbados Community College, Ronald Williams, whose crisp digital montages critique the stereotype of the black athlete and were installed on an extended billboard, while Mark King’s temporal, geometric, site specific work was installed on a pavement. Alberta Whittle’s fête (party) posters show the artist masquerading as both man and woman in her critique of gender stereotypes through her engagement with the local fête posters often seen posted throughout Bridgetown, Barbados’ capital city. The posters were reproduced and displayed throughout the streets of Glasgow.

Ronald Williams

Ronald Williams’ Artist Statements:

My collages investigate the role that sports and the black athlete play in society. I manipulate popular based imagery to compose computer-generated images that explore sports, perceptions, stereotypes and fantasies about the black athlete or figure, conceptually becoming deliberately self-contradictory as the stereotype is simultaneously celebrated and criticized. The work is designed as a large-scale poster to be installed on a billboard as an adhesive decal similar to how the image of the modern sportsman is represented. The titles of the three images being exhibited are Swagga, The Phenomenon and Wild Thing.

Ronald Williams’ work display. Photograph by Rayanne Bushell
Ronald Williams’ work display. Photograph by Rayanne Bushell

Swagga

Sprinter Usain Bolt provides the inspiration for Swagga, a piece meant to capture the frivolous and boastful nature of celebration. The boa, hat, glasses and shoes combine to promote this ‘showy’ spectacle but are also linked to the Jamaican bling culture. While the animal skins on the legs hint at the relationship to fashion, it also indicates an inherent animalistic/ physically superior nature. The shirt, deliberately muted and understated, bears a statement from Marcus Garvey about knowledge of oneself and identity. As the African mask is obscured by the bright glasses and hat, the true significance of important sporting events—such as those of the Olympic Games which were of supreme importance in ancient Greece to a sporting hero as well as his city—is often lost amongst the glamorous festivity which accompanies it.

The Phenomenon

Jessie Owens’ performances at the 1936 Berlin Olympic Games were the catalyst for this piece. Owens defied Hitler’s claims about Aryan supremacy and the attitudes towards blacks in his own country by winning four gold medals. In America, the infirm and mortality rates of black children were high due to their lack of proper health care and social structure, but the common notion was that the blacks were just diseased and weaker in general. With Owens’ victory the narrative soon changed, and the now widely accepted stereotype of blacks being more athletically and physically gifted emerged. The idea of blacks being super or sub-human alternated between those two points and Owens was subjected to various tests to find what the secret was. To reflect this change, the head of the character and its arms indicate a non human entity with the study of eugenics paramount to the discussion. To highlight the use of the ‘sub-human’ black body for scientific and medical use, the Tuskegee experiments are included. Attached to the leg of the sprinter is the anti-slavery coin ‘Am I Not A Man And A Brother’ which serves as an anchor ball and chain. It symbolises the apparently never ending struggle for the black person to bee seen as equal, not super nor sub-human.

Ronald Williams’ work display.The Phenomenon, 2013. Photograph by Rayanne Bushell

Wild Thing

Serena Williams’ bold fashion choices and trailblazing attitude helped inspire Wild Thing. Her 2002 attire, dubbed ‘the catsuit’, was such a huge talking point that it overshadowed the tennis being played. Comments about her ample curves, bulging muscles and inhuman speed and agility placed her in a highly sexualized yet animalsitic category. The character wears an exaggerated version of a catsuit, referencing the stereotypical association between African women and felines, while images of the Hottentot Venus place the fascination with her body to the fore. The black power racket and raised middle finger is a testament to her uncompromising and at times aggressive attitude, which is occasionally adverse to the demure nature of the sport.

Ronald Williams, Wild Thing, 2013
Ronald Williams’ work display. Photograph by Rayanne Bushell

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Mark King

Mark King’s Artist Statement:

My contribution to the Glasgow 2014 Culture Programme is a site-specific work made possible by the access provided by technology. Through virtual and interactive maps I embarked upon an exercise in way-finding from a computer thousands of miles away in Barbados. Through mechanisms such as Google Maps I selected forms present in the architecture and manipulated them to create artworks that draw upon the location where my work will be presented.

I have chosen chalk as my medium due to its ephemeral qualities. The resulting artwork is temporary much like the Commonwealth Games in Glasgow. My hope is that spectators from across the globe will come into direct contact with the piece with chalk from the artwork sticking to their shoes and hitching a ride to the neighboring sports venues. The combination of the elements and foot traffic will slowly eat away at the pigment and ultimately return the site to a state prior to my temporary intervention.

It is unknown whether the work will last for an hour, a day or the duration of the Commonwealth Games.

Wayfinding by Mark King 2014. Photograph by Rayanne Bushell
Wayfinding by Mark King,2014. Photograph by Rayanne Bushell
Wayfinding by Mark King 2014. Photograph by Rayanne Bushell
Wayfinding by Mark King, 2014. Photograph by Rayanne Bushell

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Alberta Whittle

Alberta Whittle’s Artist Statement

I am interested in the conflict between historical images of the Other and the African Diaspora’s notions of the Self. The spectacle of racial differences relies on a language of bleak oppositions to confirm stereotypes. In Black Skin / White Masks, Frantz Fanon, observed that in colonial discourse “native” peoples are not positioned within the psychoanalytic structure of the Self and Other, but are relegated to the universe of objects, where they remain beyond the limits of cultural intelligibility.Focusing on the concept of subjective portraiture, both as art historical genre and public identity, my research has prompted me to interrogate the potential of Barbadian fete posters as a means of regaining subjectivity.

Whilst undertaking a residency at Fresh Milk in 2012, I began a series of digital collages, exploring the production and distribution of fete posters in Barbados. Fete posters are a platform for social commentary, highlighting the acute disparity between gender roles in Barbados, where these representations appear frozen. The posters advertising these “fetes” set the tone and introduce the hosts / hostesses.  Each poster must present a selection of portraits of the hosts / hostesses, who enact a series of set poses, often sexually provocative or stereotypically hypermasculine. There are exceptions to this trope, where we are presented with more family-oriented fetes or fetes, which present a more Afro-centric or Rastafarian ideology. However, despite attempts to present themselves as rigidly heterosexual, there are elements of homoeroticism, identified through pose, adornment and dress. Designed to reflect certain ideals, these posters have evolved to reflect a specific format, which typically utilises certain poses, typography, set design and phrases, presenting a fantastical landscape punctuated with exotic animals, signifiers of wealth, including mansions, enormous bundles of cash money, expensive liquor, cars and motorbikes. They are papered on walls throughout the urban and pastoral landscape and also use Facebook as a stage. Drawing from Dancehall and Hip Hop culture, they have become sites to define identity and project capitalist ideals.

Alberta Whittle’s fete posters. Photograph by Rayanne Bushell
Alberta Whittle’s fete posters. Photograph by Rayanne Bushell
Alberta Whittle’s fete posters. Photograph by Rayanne Bushell
Alberta Whittle’s fete posters. Photograph by Rayanne Bushell

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Fresh Milk’s second contribution was a discursive project called “Notions of common/wealth versus single/wealth”. This dialogical component provided a platform for representatives of the seven specially invited networks to participate in conversations with each other and the Glaswegian audience. The aim of the conversations was, in part, to unpack ideas related to the Commonwealth of Nations – the association under which countries gather every four years to celebrate sport in Glasgow in the summer of 2014. The intention was to explore the context of the IAI, as a gathering of Commonwealth Nations, and delve into how that relates to the work we all do as artist led initiatives. The concern was to investigate the Commonwealth as a macro, historical entity and understand our relationship to it, if any, and all that entails. Interrelated are ideas about the definition of wealth and value, both single and common, in our local contexts.

View the panel discussion archived online here.

The Cyprus Dossier 00 – #CCF

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cyprus dossier compilation

…By the time I reached the end of the journal’s 39 pages, I was floored. Cyprus, I thought, how can this be somewhere I know nothing about? While concepts such as enosis (union with Greece) and takism (in relation to Turkish support of partition e.g. separate Turkish state) are embolic of Cyprus space, these themes and motifs look all too familiar: an island divided between two nations (e.g. Haiti & the Dominican Republic and Sint Maarten & Saint-Marteen), identity crisis, colonialism, imperialism, corrupt politics, arts/cultural activism, historical brainwashing, the cultural memory of physical spaces, white supremacist ideology…nationalism.

The above excerpt is from Amanda Domalene Haynes’ review of The Cyprus Dossier Issue 1: Towards Free Thinking Cyprus,  this week’s addition to the Fresh Milk Books Tumblr, the online space inviting interaction with our collection in the Colleen Lewis Reading Room.

For new Critical. Creative. Fresh reviews every week, look out for our #CCF Tuesdays  and see the good reads we have available at Fresh Milk!

cyprus compilation

Thanks to the Cyprus Dossier for donating a selection of their issues to Fresh Milk as we approach the International Artist Initiated Project being organised by the David Gale Gallery in Scotland, in which both entities will participate. The event will be a part of the Glasgow 2014 Cultural Programme corresponding with the Commonwealth Games this summer.