ENGLISH | POLISH | UKRAINIAN
CARIBBEAN ROUNDTABLE REPORT
The Transoceanic Visual Exchange (TVE) Caribbean Community Roundtable held on August 17, 2024, marked a pivotal moment in shaping the curatorial framework for the 5th edition of the triennial. Hosted online via Zoom, the roundtable brought together a small but impactful group of artists, curators, scholars, and community members, all invested in exploring the role of time-based media for addressing critical contemporary issues in the Caribbean. The roundtable was led by Natalie McGuire, TVE co-curator, and attended by Katherine Kennedy (Fresh Milk), Luis Vasquez La Roche (Trinidad & Tobago), Norma Springer (Barbados), Russell Watson (Barbados) and Shari Petti (Trinidad & Tobago). Contributions from our #askTVE questionnaire were also taken into account, submitted by practitioners from Suriname, Trinidad & Tobago, and the USA.
BACKGROUND
Founded in 2015 by the Fresh Milk Art Platform, Transoceanic Visual Exchange (TVE) is a new media and experimental film triennial that seeks to negotiate the in-between space of cultural communities outside traditional geopolitical zones of encounter and trade. The triennial is committed to showcasing recent film and video works, screenings, installations, and expanded cinema by contemporary artists within the participating regions. Each edition is accompanied by a digital exhibition space, reflecting TVE’s focus on accessibility and broad engagement.
The design framework of TVE is built on a community of curatorial practice, emphasising multivocal models of exhibition making. This collaborative approach encourages diverse perspectives, ensuring that the curatorial direction is shaped by the collective input of artists, historians, and other practitioners. For the 5th edition, the Fresh Milk Arts Platform Inc., an artist-led non-profit organisation founded in 2011 in Barbados, continues to serve as the core partner for the Caribbean. Fresh Milk supports excellence in the visual arts through residencies and programmes, fostering the development of Caribbean artists and nurturing a vibrant art community. TVE’s international partnerships have expanded this year to include the Centre for Culture in Lublin, Poland. Established in 1991, the Centre for Culture in Lublin emerged from the merging of Lublin’s House of Culture and Theatre Studio. It is recognized as a home of imagination, where artistic talents are nurtured, and favourable conditions are created for artistic work, education, and the presentation of art. The Centre for Culture is committed to being open to new projects and phenomena, encouraging creative risks as a part of its everyday work.
The curatorial process for each edition of TVE is unique, as themes are not predetermined by the internal curatorial team. Instead, they become evident through discussions with participating artists, lecturers, historians, and other stakeholders interested in film, experimental video, and new media within the Caribbean. These discussions explore what topics are currently relevant, what themes artists and filmmakers are exploring in their work, and how new technologies and techniques are being incorporated into this space. The submissions that align with these organically developed themes form the basis of the curatorial framework for each edition.
This edition’s roundtable focused on two areas: the Caribbean context, and emerging themes & techniques.
A Shade of Indigo (2023)
Boy Girl and All the Rest (2021)
I AM GARIFUNA (2024)
A Shade of Indigo (2023)
CARIBBEAN CONTEXT
In considering the Caribbean context, the TVE facilitator posed the question: How prominent or visible are Caribbean film and new media works in the art and cultural context of your country? Shari Petti noted that in her observation, there is less government involvement, with more initiatives driven by individual art organisations and grassroots efforts. While there is growing interest in these works, many people are still unfamiliar with or unsure about them. This sentiment was echoed by Luis Vasquez La Roche, who highlighted the traditional nature of the curriculum at the University of the West Indies, where new genres like video art are not a significant focus. Instead, students often end up exploring video art on their own.
Russell Watson discussed his involvement in education and curriculum design, specifically mentioning the development of an expanded media course at the University of the West Indies (UWI). This course marks a significant step in acknowledging the value of new media production within the traditionally structured film programme at UWI, which previously focused on conventional fiction and documentary. The inclusion of this course has generated enthusiasm among students, even those with a strong commercial focus, indicating a growing interest in this evolving media space.
Watson also touched on the importance of defining this expanded media space, which includes video art and other media-based art forms, as distinct from conventional media. He noted that these forms have developed in parallel, with the rise of digital tools democratising commercial production, while media-based art has gained traction in fine arts and theatrical presentations in Barbados. Watson shared that his work in designing multimedia sets, supported by the government, has paved the way for the integration of media into various forms of artistic expression in the country. He observed that media screens, once used primarily for stock animations in theatrical and concert settings, are now more curated and artistically significant. This shift underscores the need to be specific in distinguishing video art and expanded media from conventional media, particularly in terms of audience engagement and institutional presentation, such as in galleries.
Watson mentioned the institutional support for video art in Barbados, giving prominence to the fact that the Barbados National Art Gallery has acquired video art pieces by Barbadian artists. This reflects a broader trend of increased institutional acknowledgment, educational opportunities, and public discourse surrounding video art since his return to Barbados in 2009.
The TVE Facilitator congratulated Watson on the new course and raised the point about the categorization of such artworks, traditionally labelled as "time-based media" in museums. She suggested that there might be an opportunity to develop a terminology more relevant to the Caribbean context, which could better encompass the unique characteristics of the region's media artworks.
The Shape of Memory (Recollecting) (2022)
MWEN PA PRIYÉ ZACCA (2022)
Jonkunnu Nuh Dead (2022)
The Shape of Memory (Recollecting) (2022)
EMERGING THEMES & TECHNIQUES
The discussion in the second half of the roundtable centred around the exploration of themes and techniques in Caribbean film, new media, and time-based media over the past five years. The TVE Facilitator asked the participants to reflect on recurring stories, themes, or ideas in their practices or in the work of others within the region.
Shari Petti highlighted several themes, including mental health, gender based issues and the treatment of women in the carnival space, and the effects of colonialism. She also shared her personal work on water scarcity in her community, documenting how residents adapt to the lack of direct water lines. Regarding techniques, she noted that while single-channel video is predominant in Trinidad, she has recently seen some multi-channel installations, though these are limited by resource constraints. Luis Vasquez La Roche added that the pandemic had a significant impact on the medium, leading to a shift from live performance to video performance, as artists adapted to creating for the camera instead of a live audience. He observed a merging of video and performance art, with artists experimenting with available technology, such as smartphones, and challenging traditional video quality standards.
Russell Watson reflected on current art trends and his experiences as an educator during the pandemic. He noted that he discouraged his students from making pandemic-themed work, emphasising the need for distance and reflection, particularly at such a formative stage of their practices. Watson observed noticeable trends like metaphysical stories, world-building, and environmental themes. He also addressed the evolving relationship between amateur and professional media, highlighting how pandemic-driven public performances and digital media are influencing artistic practices.
Norma Springer spotlighted a kind of “Intuitive style” within Caribbean time-based media, akin to the intuitive movement within Caribbean art history. Participants called attention to the challenges posed by limited resources, which may restrict the ability to push creative boundaries in video art and installation, described as being “caught at the crossroads of intention and capacity.” The balance between intentional naivete within video art, and the difficulty for Caribbean artists to fully explore and innovate within the medium was discussed. The context of platforms such as Tik Tok was also included, which participants acknowledged provided more accessibility for expanded media, and drives certain styles that align with visual trends of social media subcultures.
Memory as an Archive: A Multi-faceted Exploration
The TVE facilitator tied these discussions to the broader theme of memory as an archive through the submissions received, which encompasses memory and recollecting as a tools for unpacking issues like trauma, climate action and spirituality through time-based media. She introduced several video clips to illustrate these submissions. The overarching theme of memory emerged as a central axis, and, in this context, is not simply a passive repository of past events but an active, living archive that holds the potential to interrogate and illuminate pressing contemporary issues. Memory can be both a personal and collective resource, capable of bridging the past and the present, the individual and the communal.
Archiving in its literal and tangible sense was also considered, particularly relating to how digital work is stored or collected, and the rapid advancements in technology. Certain means of documenting, once seen as the most effective or ‘indestructible’ solutions, have become obsolete over the years, and some artists now harness these methods or media as ways of capturing, reflecting, and commenting on particular moments that speak to our ever-changing cultures and societies.
The intersection of memory and climate change was another critical area of focus. As the world grapples with the accelerating impacts of environmental degradation, memory serves as a reminder of both the natural world that once was and the urgency of the actions needed to preserve what remains. By archiving artistic encounters with the past and present states of our ecosystems, memory can help mobilise communities and policymakers toward more sustainable practices.
Spirituality, Indigenous Rituals, and the Metaphysical
Another thematic area foregrounded was the exploration of spirituality and indigenous rituals in relation to memory. Participants commented on the increasing visibility of works related to Afro-Caribbean spiritual practices and their presentation in art. They reflected on how different audiences might understand spiritual or ritualistic symbolism in art to varying degrees. The roundtable brought to light how these practices often serve as vessels for preserving and transmitting memory across generations. Indigenous and ancestral rituals, in particular, are deeply rooted in the land and the natural world, offering unique perspectives on the interconnectedness of all living things. Participants discussed how memory can transcend the physical realm, connecting individuals with ancestors, spiritual beings, and the cosmos.
Emphasis on Installation for Time-based Media
In terms of artistic mediums, the roundtable reached a consensus on the importance of installation of time-based media for this edition of TVE. These forms of art are particularly well-suited to exploring the themes of memory, trauma, climate change, and spirituality, as they allow for immersive, experiential encounters. Installations can create physical spaces that embody memory, inviting viewers to step into environments that evoke the past, present, and future simultaneously. They can capture the fluid, evolving nature of memory, using sound, video, and performance to convey the temporal aspects of recollection and forgetting.
It was noted that artists in the region often have to compromise on the ideal presentation of their work, which can alter an audience’s understanding of a piece. Even in gallery settings, they can be limited by infrastructural restrictions or access to equipment. Finding ways to honour artistic visions and have open dialogue with the artists about possibilities for showing their work without compromising their intentions will be a key part of TVE’s final curation.
Moving Through the Motions (2022)
DesAhogo (2021)
Courtyard (2024)
Moving Through the Motions (2022)
CONCLUSION
The TVE Caribbean Community Roundtable provided a critical and insightful platform for discussing the future direction of the 5th edition of the triennial.
Participants offered valuable perspectives on the visibility and integration of Caribbean film and new media within national and regional contexts. The conversations accentuated the gradual yet promising shifts in educational and institutional support for time-based media, revealing a growing recognition of its significance within the Caribbean arts landscape. Notably, the introduction of new media courses at educational institutions and the increased acquisition of video art by prominent galleries reflect a positive trajectory towards broader acceptance and integration of these art forms.
Emerging themes from the roundtable underscored the evolving narrative within Caribbean time-based media. Issues such as trauma, colonial legacies, environmental concerns, and spirituality were identified as pivotal areas of exploration. The impact of the pandemic on artistic practices, including the adaptation of live performance to video formats, was a salient topic. Additionally, the discussion around resource constraints and the influence of social media platforms like TikTok provided a nuanced understanding of the current artistic environment and its limitations.
Overall, the results of the roundtable have set a promising foundation for the 5th edition of TVE, ensuring that the triennial remains at the forefront of addressing critical issues through innovative and collaborative curatorial practices. The contributions from artists, curators, and scholars have illuminated the dynamic potential of time-based media in the Caribbean, paving the way for a profound and reflective edition.
TVE 5 received a total of 32 Caribbean submissions from 21 applicants. Submissions came in from Barbados, Guadeloupe, Jamaica, Martinique, Puerto Rico, St. Kitts & Nevis, St. Vincent & the Grenadines, Suriname, Trinidad & Tobago, Canada, the UK and the USA, spanning the areas of video art, new media, short film, feature length film, installation, animation and documentary.
Natalie McGuire, August 2024
POLISH/UKRAINIAN ROUNDTABLE REPORT
The Transoceanic Visual Exchange (TVE) Lublin Community Roundtable was held both in-person (on the premises of the Centre for Culture in Lublin) and online (via email) in late August and early September 2024. Although we initially hoped for a greater turnout, the off-season (Lublin is predominantly an academic city, which results in low participation on the part of students in the summertime, i.e. during semester break). However, we managed to capture the attention of the Centre for Culture in Lublin’s core / target audience who responded to our online questionnaire (over 30 individual responses), confirming their sustained interest in both Ukrainian and Caribbean visual art. We did not include questions about Polish art, as it already constitutes a considerable part of programming (in particular, in the Biała Gallery, which is housed in the building of the Centre for Culture).
The roundtable was led by Bartosz Wójcik, initiator of the partnership between Fresh Milk, Barbados and the Centre for Culture in Lublin, Poland, and attended by Marta Ryczkowska (Centre for Culture in Lublin), Paweł Hadrian (Centre for Culture in Lublin), and Edyta Frelik (Maria Curie Skłodowska University). Contributions from our #askTVE questionnaire were also considered, submitted by practitioners from Poland, England, and Ukraine.
The TVE5’s Lublin roundtable focused on two areas: the Polish and Ukrainian context, and emerging themes & techniques.
Barber / БАРБЕР (2023)
Antanakata (Dinner after the end of the world) (2023)
Matriona/Patriona (2022)
Barber / БАРБЕР (2023)
POLISH & UKRAINIAN CONTEXT
The TVE facilitator posed the question: How prominent or visible are Polish and Ukrainian film and new media works in the art and cultural context of your country, especially Lublin and the Lublin region? All the participants pointed to three major public gallery spaces in Lublin: the Biała Gallery, the Labirynt Gallery, and the National Museum of Lublin. Marta Ryczkowska emphasised their reliance on state grants (programmes of the Minister of Culture and National Heritage of the Republic of Poland) and other (EU, Norwegian, Swiss, etc.), which accelerates their competitiveness and may lead to cultural cannibalism. Still, Ryczkowska rightly pointed out that the Labirynt Gallery focuses on Ukrainian art (and artists) way more than other two institutions. Paweł Hadrian noted the importance of NGOs (both Polish and Ukrainian) in fostering cooperation, given how slow institutions of culture may respond to dynamic changes if not supported by non-governmental bodies and individual – whether cultural or social – activists. Bartosz Wójcik added that there still a lot to be done by the Centre for the Meeting of Cultures (the largest public institution of culture in the Lublin region) in terms of being more inclusive and progressive, especially in the area of visual art (the institution boasts significant gallery space and considerable modern infrastructure, which sadly tended to be underused in recent years). Edyta Frelik expressed the opinion that in the event of Lublin becoming the 2029 European Capital of Culture (ECoC), the municipal and voivodeship institutions of culture will have to widen their programming and include more Polish and Ukrainian joint projects / collaborations, especially in the light of Lublin’s invitation of Lviv to contribute to the ECoC programming.
Clanking, hammering, dispute and gurgling / Брязкання, стукіт, суперечка і булькання / Bryazkannya, stukit, superechka i bulʹkannya (2021)
Lalki / Dolls (2021)
РАНИ / WOUNDS / RANY (2023)
Clanking, hammering, dispute and gurgling / Брязкання, стукіт, суперечка і булькання / Bryazkannya, stukit, superechka i bulʹkannya (2021)
EMERGING THEMES & TECHNIQUES
The discussion centred around the exploration of themes and techniques in Polish and Ukrainian film, new media, and time-based media over the past five years. The TVE Facilitator asked the participants to reflect on recurring stories, themes, or ideas in the works submitted to TVE 5 or in the work of others. Marta Ryczkowska cited the films of Daniil Revkovskyi and Andrii Rachynskyi (as well as of Volodymyr Kaufman) as examples of a core motif of contemporary Ukrainian art: battling with the reality of war through both direct and indirect references to conflict, destruction, and technology. Edyta Frelik drew our attention to the post-apocalyptic and the post-human(ist), primarily in the video art of Anastasia Kashtalian. Other topics that propelled our conversations included current political life (social protests, primarily the fight for reproductive rights and LGBTQ+ equality in Poland in recent years), social justice, climate justice, digital performance (also in social media), identity (both highly individualised, subjective narratives and more communal perspectives). Paweł Hadrian highlighted the role of video art as a multimodal / intermedia practice, driven by interactions with music. We came to a conclusion that, apart from identity politics, the other two dominant ideas inherent in the works are: (1) decoloniality, i.e. unlearning / questioning Eurocentric grand historical (hegemonic) narratives; (2) ecocriticism.
Tette Dolci (2019)
Ofelia / Ophelia. Action Will (Not) Be Condemned (2020)
Broken Hearts Hotel (2021)
Tette Dolci (2019)
CONCLUSION
TVE 5 received a total of 22 Polish submissions from 13 applicants (14 artists; 1 submission was authored by a duo) and a total of 14 Ukrainian submissions from 6 applicants (7 artists; 1 submission was authored by a duo), spanning the areas of video art, new media, short film, multi-channel film, installation, animation, and documentary.
Bartosz Wójcik, September 2024