We are pleased to announce that the regional residency Caribbean Linked IV will be taking place at Ateliers ’89 in Oranjestad, Aruba from August 1 through 23, 2016. Thanks to generous support from the Mondriaan Fund, Stichting DOEN and the Prince Claus Fund, eleven creatives from around the French, Spanish, English and Dutch Caribbean will convene to produce work and mount an exhibition during this three week period.
This annual residency will again allow the participants to be exposed to the practices of other emerging Caribbean artists, providing an opportunity to strengthen regional connections and cultural understanding.
During the month of November, Fresh Milk resident artist Ask Kærebyheld a series of three workshops looking at experimental ways of working with sound. One of the participants, Immanuel Hunte, wrote about his experience with the workshops, as well as sharing two of the pieces he created based on what was discussed in the sessions. Read more below:
Immanuel Hunte, Andre Woodvine, Adrian Green and Ask Kæreby
Melanie Springer, Katherine Kennedy, Immanuel Hunte, Jesse Phillips and Andre Woodvine
I attended a 3 day workshop, which was held by Fresh Milk via their Artist Residency Programme. Ask Kæreby, a Danish composer and sound designer was the chief facilitator of this particular project, being that it was about sound and sound design. I have to say that in my opinion, even though only a few people attended the workshop, it was AWESOME. Ask helped me to open my eyes to how sound can be used in unconventional ways to express one’s self creatively.
Learning about some of the technical aspects of sound
Looking at sound editing programmes
Over the course of 3 days we looked at the technical aspects of sound and talked about the the artistic and philosophical aspects of it as well. During that time, I gained an understanding about sound and sound design; ie. that sound does not only come from musical instruments, or an orchestra, or notes and pitches. Sound is present in our everyday surroundings and in our everyday lives, whether it is natural ( eg. wind, water, trees, animals) or generated/man-made (eg. engines, machines, traffic, interaction of objects). To sum it all up, I was informally introduced to the world of sound art: Sound art is a contemporary art form in which sound (natural or artificial) is utilised as a medium or a form of expression. Sound art comprises of different elements that are often intertwined eg. audio media, electronic synthesizers, noise music, acoustic or psychoacoustic art, to name a few. Sound art tends to be experimental in that it gives the artist a chance to stretch his/her imagination. I got to learn about the people who were pioneers in this sound art movement, such as Luigi Russolo, who composed for noise machines (which he created) and had members of a London-based orchestra play them, …….which did NOT go down too well with the traditional audience! Russolo at that time wanted to escape the confines of what his generation called traditional music.
Watching part of The Delian Mode – Delia Derbyshire documentary
A simulated wobbulator
There was also Pierre Schaeffer, who was into experimental sound in the 1940s and developed musique concrète. We listened to one of his manipulated recordings of trains. My favourite part was learning about Delia Derbyshire, a woman who was instrumental in the early days of the BBC in London in the BBC Radiophonic Workshop. She has been revered for being a pioneer in electronic music. This unique workshop consisted only of oscillators and various analogue machines. Music for radio and television was scored using only these machines, including sound effects. One famous example is her electronic rendition of Ron Grainer’s theme to Doctor Who, one of the first television themes to be created and produced by entirely electronic means.
Immanuel Hunte’s Soundscape
Also, during this time, the group was given assignments to record our environments, and to manipulate them in an artistic manner. The sounds I used were recordings of my toilet flushing, the washing machine, doors, a spray-can and my voice. Using what I learned in the workshop, plus my experience in making music on computers, I got some satisfyingly interesting results. I edited parts of the audio from my raw recordings and I applied some delay and reverb effects, as well as vocoder effects. The recordings were made using my phone, and the finishing touches were done in digital audio workstations called Propellerhead Reason and FL studio.
Immanuel Hunte’s Desert Scape
Thanks to all of those who participated in the sessions, including Annalee Davis, Adrian Green, Immanuel Hunte, Katherine Kennedy, Jesse Phillips, Melanie Springer and Andre Woodvine.
In her arts column ‘About Town, Across Country’ for the Barbados Today e-newspaper, Katrina Marshall recently shared two articles: one on the Transoceanic Visual Exchange (TVE) programme, and one focusing on what it means to be an artist-in-residence, speaking with Fresh Milk’s Katherine Kennedy about her work and residency experiences to explore the topic.
Thanks very much, Katrina, for taking an interest in the arts!
To read the article on TVE, which appeared on pages 12-13 of the October 22 edition of Barbados Today, click here.
To read the article about Katherine Kennedy and her thoughts on artist residencies, which appeared on pages 12-13 of the October 30 edition of Barbados Today, click here.
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:
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.
From L-R: Winner Stephen Narain (Bahamas) and Honourable Mentions Nicole Smythe-Johnson (Jamaica) and Katherine Kennedy (Barbados)
The co-directors of Alice Yard are pleased to announce that the winner of the inaugural Alice Yard Prize for Art Writing is Stephen Narain, born in the Bahamas and now living in the United States.
From the shortlist of five writers, two more have been selected for honourable mention: Katherine Kennedy of Barbados and Nicole Smythe-Johnson of Jamaica.
The other shortlisted writers are Brandon O’Brien of Trinidad and Tobago and Aiko Maya Roudette of St Vincent and the Grenadines.
Narain will receive a cash award of US$1,000, and his essay, along with Kennedy’s and Smythe-Johnson’s, will be published in The Caribbean Review of Books.
Launched by Alice Yard in 2014, the prize is an annual award for an original piece of critical writing on contemporary Caribbean art by a Caribbean writer aged 35 or under. It aims to encourage new writing on Caribbean art and artists, and to identify emerging voices in contemporary Caribbean art criticism. Originally it was expected that the winner of the inaugural prize would be announced in late 2014. Despite the delay in the timetable, the prize will continue to be awarded annually, and the 2015 Alice Yard Prize for Art Writing will open for entries in September.
The co-directors of Alice Yard wish to thank the 2014 prize judges — Krista Thompson, Charles Campbell, and Courtney J. Martin — for their time and critical engagement.