Mini TVE presentation with Third Horizon Media at the Miami Book Fair

On Monday, November 12th, 2018 Third Horizon Media, Miami, collaborated with the Fresh Milk led initiative Transoceanic Visual Exchange (TVE) to curate a small screening of a selection of video/film work by Caribbean artists as part of their contribution to the 2018 Miami Book Fair.

This mini edition of TVE featured work by Adam Patterson (Barbados), Rhea Storr (The Bahamas/UK), Sandra Vivas (Venezuela), Alberta Whittle (Barbados/UK), Nick Whittle (Barbados/UK) and Anisah Wood (Barbados).

Transoceanic Visual Exchange is a selection of video art by artists practicing in the Caribbean, the Pacific Islands and their diasporas. This edition of TVE was coordinated by The Fresh Milk Art Platform (Barbados) in partnership with Footscray Community Arts Centre (Melbourne, Australia) in 2017, with additional screenings taking place in collaboration with Deakin University (Melbourne, Australia) and Third Horizon Media (Miami, USA) in 2018.

Click here to see the PDF of the event program:

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About Third Horizon Media:

Third Horizon is a Miami-based Caribbean filmmaking collective and media company dedicated to capturing the sights and sounds of the Caribbean and the so-called “third world.” The collective’s projects have screened at festivals around the world, including Sundance, Toronto International (TIFF), International Film Festival Rotterdam and Sheffield Documentary Festival, among others.

The collective also stages the annual Third Horizon Film Festival, which aims to empower and celebrate fellow filmmakers and projects focused on the Caribbean, the Diasporas that formed it, and the Diasporas formed by it.

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About The Miami Book Fair:

The Miami Book Fair is an annual literary festival event realized in Miami by Miami Dade College.

The fair, which has become a model for other fairs across the country, brings over 300 renowned national and international authors exhibitors to a weeklong celebration of all things literary and includes pavilions for translation, comics, children, and young adults.The mission of Miami Book Fair International is to promote reading, encourage writing, and heighten an awareness of literacy and the literary arts in the city’s multi-ethnic community.The eight-day book festival has draws hundreds of thousands of book lovers to downtown Miami each November for a festival of all things read and written.

Transoceanic Visual Exchange 2017

Fresh Milk is thrilled to announce that the Caribbean screenings for Transoceanic Visual Exchange (TVE) 2017 will take place in Barbados on select dates between November 3rd – 13th at the Fresh Milk studio and in the Morningside Gallery at Barbados Community College (BCC). Additionally, the online exhibition of works will be available for viewing from November 20th – December 20th. Read more about the project and see the full screening schedule below!

Fresh Milk, in partnership with Footscray Community Arts Centre and the Barbados Community College, is pleased to present the schedule for the 2017 edition of Transoceanic Visual Exchange (TVE), a series of programmes taking place this year between Barbados and Australia.

TVE is a collection of recent films and videos from artists practicing in the Caribbean, Oceania 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, intending to build relations and open up greater pathways of visibility, discourse and knowledge production between the regional art spaces and their communities.

The Caribbean screenings will take place in Barbados on select dates between November 3rd – 13th at the Fresh Milk studio, Walkers Dairy, St. George and in the Morningside Gallery at Barbados Community College (BCC), Howells Road, St. Michael, while the screenings in Australia will take place at the Footscray Community Arts Centre, 45 Moreland Street, Footscray
Victoria on November 18th from 10am – 5pm (see more about this event here).

Additionally, the online exhibition of works will be available for viewing from November 20th – December 20th.

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Barbados Screening schedules & Participating Artists:

Video Installations

Barbados Community College
Friday Nov. 3rd (10am – 6pm), Saturday Nov. 4th (10am – 3pm) & Monday Nov. 6th (10am – 6pm)

Mohini Chandra (Fiji) – Kikau Street
rc campos (Brazil) – Entangled Landing Points

Friday Nov. 10th (10am – 6pm), Saturday Nov. 11th (10am – 3pm) & Monday Nov. 13th (10am – 6pm)

David Gumbs (St. Martin/Martinique) – Blossoms
Lisa Hilli (Papua New Guinea) – Material Histories 1

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Narrative / Documentary Screenings

The Fresh Milk Art Platform
Sunday Nov. 5th (5pm – 8pm)

Alanna Lockward (Dominican Republic) – ALLEN REPORT: Retracing Transnational African Methodism
Craig Santos Perez (Guam/Hawaii) – Praise Song for Oceania
Alberta Whittle (Barbados) – Recipe for Planters Punch

Sunday Nov. 12th (5pm – 8pm)

Katia Café-Fébrissy (Guadeloupe/Toronto) – ROOT UP/À LA RACINE
Juliette McCawley (Trinidad & Tobago) – One Good Deed
Danielle Rusell (Jamaica) – The Bakers of Oriental Gardens
Lisa Taouma (Samoa) – Adorn

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Experimental Video Art Screenings

The Fresh Milk Art Platform
Wednesday Nov. 8th & Thursday Nov. 9 (6pm – 9pm)

Featuring work by:

Louisa Afoa (Samoa), Black Birds (Fiji/Tokealu/Grenada/Maori), Di-Andre Caprice Davis (Jamaica), Lionel Cruet (Puerto Rico), Tricia Diaz (Trinidad & Tobago), Deborah Jack (St. Maarten/USA), Shivanjani Lal (Fiji), Natalia Mann (Samoan/European), Jodi Minnis (The Bahamas), Sofia Gallisá Muriente (Puerto Rico), Adam Patterson (Barbados/UK), Oneika Russell (Jamaica), Shanice Smith (Trinidad & Tobago), Talia Smith (Samoan/Cook Islands/New Zealand), Luis Vasquez La Roche (Venezuela/Trinidad & Tobago) and Joanna Helfer (Scotland), Sandra Vivas (Venezuela/Dominica), Rodell Warner (Trinidad & Tobago), Nick Whittle (Barbados/UK) and Anisah Wood (Barbados)

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Open Call: TVE 2017 – Deadline Extended

Deadline extended until July 20, 2017

Fresh Milk and Footscray Community Arts Centre 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 second edition of Transoceanic Visual Exchange (TVE), a series of programmes taking place this year between Barbados and Australia. Submitted works must have been completed in the last five years and must be made by artists practicing in the Caribbean, Oceania 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, Oceania (Pacific Islands) 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, Oceania (Pacific Islands) 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 detail 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 10MB, or private Vimeo / Youtube links

  • Works must not have been submitted to the previous edition of TVE

Deadline for submissions: July 20, 2017

Please send Caribbean submissions to: tveproject.caribbean@gmail.com

Please send Oceania submissions to: tveproject.oceania@gmail.com

For more information on TVE and its first iteration, visit the website transoceanicvisualexchange.com

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About 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.

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About Footscray Community Arts Centre:

Footscray Community Arts Centre (FCAC) is a community-engaged, contemporary arts centre working with local, regional and international communities.

We collaborate with artists, communities and organisations to build capacity, create opportunities and drive social change. We are the place where important conversations happen: we then action; we cultivate; we deepen.

TVE Open Call

TVE (transoceanic visual exchange) is making an open call in search of recent artists’ films and videos to be included in an exchange between Fresh Milk (Barbados), RM, (Auckland) and VAN Lagos (Nigeria).

TVE flyer Final

Fresh Milk, RM and VAN Lagos, are pleased to welcome submissions of recent film and video works – screenings, installations and expanded cinema – by contemporary artists, to be included in programmes for exchange between Barbados, Auckland and Lagos. Submitted works must have been completed in the last five years and must be made by artists practicing in the Caribbean, Africa or Polynesia.

The foundation of this transoceanic visual exchange (TVE) will be a collection of recent artist’s film and video from each region. However, the final shape and content of the programme will be informed by an open workshop process, which aims to involve and promote discussion within the wider arts communities of each arts initiative.

Working between the Caribbean, Africa and Polynesia, TVE aims to negotiate the in-between space of our cultural communities outside of traditional geo-political zones of encounter and trade. Fresh Milk, VAN Lagos and RM first met as participants of International Artists Initiated, a programme organized and facilitated by David Dale Gallery, Glasgow, in July 2014. TVE intends to build upon relations established during this initial encounter and open up greater pathways of visibility, discourse and knowledge production between the artist run initiatives and their communities.

Submissions:  

  • Must be work from artists practicing in the Caribbean, Africa or Polynesia.
  • 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) with English subtitles.
  • Multiple submissions are welcome
  • Must be accompanied by a description of the work (500 words max), a bio (200 words max) and detail 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 10MB, or private Vimeo / Youtube links

Deadlines for Submission: 16th February 2015

The exchange will occur in June 2015

Please send submissions and enquiries to the region in which you are practicing:

Caribbean: freshmilkbarbados@gmail.com
Polynesia: taarati@rm103.org
Africa: info@vanlagos.org / vanlagos.org@gmail.com

About the Spaces

Fresh milk colours

The Fresh Milk Art Platform Inc. is a Caribbean non-profit, artist-led, inter-disciplinary organization that supports creatives and promotes wise social, economic, and environmental stewardship through creative engagement with society and by cultivating excellence in the arts. Fresh Milk bridges the divides between creative disciplines, generations of creatives, and all linguistic territories in the region. It functions as a cultural lab, fostering critical, creative practices through local, regional and international programming. The platform transforms into a gathering space for contemporary creatives who are thirsty to debate ideas and share works through residencies, lectures, screenings, workshops, exhibitions, projects etc.

van lagos logo

The Video Art Network, Lagos (VAN, Lagos) is a Lagos based New Media art organization, established by the collaborative efforts of artists Emeka Ogboh, Jude Anogwih and cultural producer Oyindamola Fakeye. The organizations objectives are to develop educational and public programmes that promote and create new media art awareness in Nigeria. This is realized through curated screenings and exhibitions of both established and emerging New Media artists.

RM

RM is an artist-run space, project office and (gradually developing) archive. Based in Auckland, New Zealand, RM is a gallery that places the work of local emerging artists alongside more seasoned practitioners. RM seeks to engage with the practices, discourses and modes of presentation that aren’t well-supported or easily accessible in Auckland. Though we might look like a white cube, we are more interested in the potentials of an empty room – a space to gather, to think, to talk, to make, to share… Established in 1997, RM is the country’s longest running artist-run-space. The co-directors are Eleanor Cooper, Melanie Kung, Ziggy Lever, Fleur Sandbrook, Taarati Taiaroa, and co-founder Nick Spratt. Previous incarnations of the rm project have included rm3, rm212, rm401 and rm103.

Telling our Stories: Achille Brice & Eka Christa Assam

On September 3, 2014, former Akademie Schloss Solitude resident Achille Brice and fellow filmmaker Eka Christa Assam presented the German premiere of three film shorts – I.C.U., I-BEMSI and Beleh – at Generationshaus, Stuttgart. Barbadian artist and writer Katherine Kennedy, who is currently in residence at the Akademie acting as a correspondent between the Caribbean and the community here, spoke with them after the screening. The conversation provided an opportunity to discuss not only the works themselves, but the larger context in which they function in Cameroonian society. Through a series of questions, observations and personal anecdotes, cultural exchanges occurred, emphasizing the importance of perspective in both the telling and appreciation of a story.

Read the interview originally conducted for the Akademie Schloss Solitude Blog below:

The German premiere of I.C.U., I-BEMSI and Beleh. Premiere pictures courtesy of Eka Christa Assam.

The German premiere of I.C.U., I-BEMSI and Beleh. Premiere pictures courtesy of Eka Christa Assam.

Katherine Kennedy: Can you begin by telling me about your background in acting/filmmaking, and the context you are working out of in Cameroon; is there already an industry you are situating yourself in, or is it now emerging?

Eka Christa Assam: I actually studied accounting after high school, but I always wanted to act. At some point I dropped out, and after a year or two I got my first movie role in 2006. After being in a couple of films, I realized I wasn’t interested in the kind of scripts that came my way. In Cameroon, the film industry is still trying to find its feet, especially the English speaking section. Many filmmakers try to copy what Nollywood – the Nigerian film industry – is doing, which is mostly home videos for entertainment that don’t follow cinematic techniques, and I wanted more from the genre. I felt that film was tool we could use to address some of the issues we are facing in our country.

Eka Christa Assam

Eka Christa Assam

After a while I tried writing and directing my first short – but that didn’t even make it out of post. It was very hard because I hadn’t been to film school, I had no experience. I tried to read up on it but I don’t think I was quite prepared yet. I tried to get books on filmmaking, looked for information online and studied lots of Western films. Then I met Achille, who had been here at Akademie Schloss Solitude, and he was kind of like a mentor. He gave me pointers and sources for material, and he helped me with the second short, Doormat, which was 6 minutes long. With that piece I got accepted into the Durban Talent Campus 2012.

The second project we worked on was Beleh, which has been doing really well. It’s been screened at 12 festivals to date and won best short film at the ZAFAA African Film Academy Awards in London in 2013 and got a jury mention at the Africa International Film Festival (AFRIFF) in Nigeria. It’s a slow process, but it’s picking up – the more you do, the more you improve, and because we have no formal training we learn on the job. It’s a bit of a struggle, but now that our work is getting out there and we’re getting opportunities to interact with other artists, we’re learning from them, getting inspired by their work, and approaching our own work from a different perspective.

Achille Brice

Achille Brice

Achille Brice: In terms of coming into the industry, I wasn’t even sure I wanted to be a film artist at first. I started as more of a recording artist and I was editing pictures for fun part time. A Cameroonian director had seen some of my work, and approached me in 2003 to suggest I try my hand at video editing. The first movie I ever edited was feature length; it was chaotic, but it was an amazing experience and ever since then I have been doing a lot of homework, trying to gain experience. I was lucky to be selected for the Durban Talent Campus in 2008, and in the same year selected for the Berlinale Talent Campus in Germany, so I think those were turning points in my artistic career. I got to meet professionals that have been in the industry for a long time, network and share ideas. I think that was a source of motivation.

Being able to manipulate scenarios, in a sense giving meaning to nothing, is what brought me to the industry. As Eka said, I discovered it was a platform where I could pick out relevant topics, and use video to break a barrier that other genres cannot really cross in the same way. I would say the artistic scene in Cameroon, especially in film, is slow because there are no real film institutions. If you want to become an artist you have to take the initiative in educating yourself.

ICU Poster big

KK: Given that the industry is still in its latent phases, did that lead to the founding of BinAm Studios? What are some of the obstacles you’ve had to overcome?

AB: There is a problem with movie financing because a lot of investors don’t want to put their money into a sector where nobody has had formal training, but I think it’s a necessary risk to invest in and encourage talent. BinAm Studios was created as a platform to celebrate our own, because the general population of Cameroon tends to embrace foreign products. Sometimes when we do movies, people say that we’re copying Nigeria, but we’re trying to tell our own stories. It’s a gradual process; first we have to prove our worth, and then we can use this platform to showcase ourselves so that Cameroonians and those living in the diaspora know that things like this can happen in our own home. I founded BinAm Studios to cultivate this field while exposing our best. We have amazing actors, directors and producers who don’t get recognition because people think moviemaking is just a part time thing, but for me moviemaking is my saviour. It’s where I found my home.

ECA: Film is more than a hobby – it’s a passion and a profession, and you have to find that balance. Too many people do it for the wrong reasons. They may not even be finished editing the first draft, and they’re already starting on the promotion because they want their friends to know they will be on camera. They’re in a hurry to get it out there – but why are they doing it? The reason determines how well it is done. I feel that, as much talent as we have – and there are so many talented Cameroonians – once your attitude gets tainted, your whole art will crumble. And that is one of the biggest problems in our industry. We don’t have a market for our films yet, so the challenge is for us to be able to find our own voice and style, and make the public believe in our ability to present unique content.
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