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  35. <title>Exhibition: “In the Wake of Haunting”—Breaking Down Barriers of Place and Time</title>
  36. <link>https://repeatingislands.com/2024/05/16/exhibition-in-the-wake-of-haunting-breaking-down-barriers-of-place-and-time/</link>
  37. <comments>https://repeatingislands.com/2024/05/16/exhibition-in-the-wake-of-haunting-breaking-down-barriers-of-place-and-time/#comments</comments>
  39. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  40. <pubDate>Thu, 16 May 2024 14:58:12 +0000</pubDate>
  41. <category><![CDATA[News]]></category>
  42. <category><![CDATA[Art]]></category>
  43. <category><![CDATA[Bahamas]]></category>
  44. <category><![CDATA[contemporary art]]></category>
  45. <category><![CDATA[photography]]></category>
  46. <guid isPermaLink="false">http://repeatingislands.com/?p=183347</guid>
  47.  
  48. <description><![CDATA[Here is a new exhibition to open at TERN Gallery on May 23, 2024: “In the wake of a haunting,” by La Vaughn Belle (U.S. Virgin Islands) and Tamika Galanis (The Bahamas). The exhibition will be on view until July 6, with an artist talk and reception on Thursday, June 13. La Vaughn Belle is [&#8230;]]]></description>
  49. <content:encoded><![CDATA[<div class="wp-block-image">
  50. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg"><img width="600" height="458" data-attachment-id="183348" data-permalink="https://repeatingislands.com/2024/05/16/exhibition-in-the-wake-of-haunting-breaking-down-barriers-of-place-and-time/the-healer-untitled-1/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg" data-orig-size="600,458" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="the-healer-untitled-1" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=600" src="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=600" alt="" class="wp-image-183348" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg 600w, https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=300 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></figure></div>
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  53. <p></p>
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  57. <p><strong>Here is a new exhibition to open at TERN Gallery on May 23, 2024: “In the wake of a haunting,” by La Vaughn Belle (U.S. Virgin Islands) and Tamika Galanis (The Bahamas). The exhibition will be on view until July 6, with an artist talk and reception on Thursday, June 13. La Vaughn Belle is a multidisciplinary artist whose practice “makes visible the unremembered through exploring the material culture of coloniality [by] creating narratives from fragments and silences.” Tamika Galanis is a documentarian and multimedia visual artist whose “work examines the complexities of living in a place shrouded in tourism’s ideal during the age of climate concerns.” </strong><strong> </strong><strong>TERN Gallery is located at Mahogany Hill Western Rd, Nassau, Bahamas.</strong></p>
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  60. <div class="wp-block-image">
  61. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg"><img width="599" height="424" data-attachment-id="183349" data-permalink="https://repeatingislands.com/2024/05/16/exhibition-in-the-wake-of-haunting-breaking-down-barriers-of-place-and-time/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg" data-orig-size="599,424" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=599" src="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=599" alt="" class="wp-image-183349" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg 599w, https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=300 300w" sizes="(max-width: 599px) 100vw, 599px" /></a></figure></div>
  62.  
  63.  
  64. <p></p>
  65.  
  66.  
  67.  
  68. <p><strong>Description:  </strong><em>In the wake of a haunting</em> observes the manifestations in both Belle and Galanis’ practices of the lures from the archive, both the landscape and the metaphysical. Hauntings often dredge up fears of the otherworldly, ‘duppies’ and ‘sperrits’. However, ideas, concepts, stories, and intriguing information repeatedly come to visit us after being first imparted. The ‘remembering’ persists and, for some, it becomes motivation to follow the pathways they present. </p>
  69.  
  70.  
  71.  
  72. <p>The haunting is a call to decolonization and the dismantling of systems that keep us fragmented. Belle conjures this fragmentation of body from land, land from atmosphere, archives from people, and people from history and brews new modes of being. She is interested in “elements of the natural world, like the land or sea, powerful forces like the hurricane, for strategies in how to disrupt the colonial gaze and its hierarchies.” While her multilayered, mixed media, and beautifully chaotic works illustrate the landscape in movement affected by turbulent winds. Belle presents the “aesthetics of ruin as a way to reimagine our ‘pastpresents’ and gesture towards new and possible futures.”</p>
  73.  
  74.  
  75.  
  76. <p>For Galanis, the archive has become a haunting turned kin. The visitations came through the unnamed repeated faces appearing in photo archives only attached to a familiar place. She saw a loose thread in slave records, pulled it to Cat Island, an eastern Bahamian island, and was led to the ladder stitch between our archipelago and the American South. Galanis weaves the landscapes of the saltwater railroad together again by investigating the remnants of Gullah Geechee culture in our terrains. Narrowing on the bonds between the Carolinas and The Bahamas, through photography, video and installation, Galanis focuses on the Gullah bottle trees present within our respective spaces that are used to capture ‘sperrits’ that try to invade homes at night. The presence of these bottle trees, which have evolved to decoration, are monuments to the shared ancestral spiritual practices between The Carolinas and The Bahamas.</p>
  77.  
  78.  
  79.  
  80. <p>As researchers, both Belle and Galanis follow the hauntings and listen intently to the calls of the past to unearth and to patch linkages between place and time. They urge their audience to remember and to access collective memory for storytelling, record-keeping and archive-making.&nbsp;</p>
  81.  
  82.  
  83.  
  84. <p>For more information on this exhibition, please email Jodi at <a href="mailto:jodi@terngallery.com">jodi@terngallery.com</a>.</p>
  85.  
  86.  
  87.  
  88. <p><strong>Tamika Galanis</strong> is a Bahamian-American documentarian and multimedia visual artist, whose work considers the contentious relationship between historical documentary accounts of the Caribbean and lived experience. With current climate crises in mind, her work emphasizes the importance of archival futurities for cultural preservation and focuses on documenting aspects of Bahamian life not curated for tourist consumption. This work counters the widely held paradisiacal view of the Caribbean, which was established through a controlled, systematic, commodification of the Tropics and maintained by the historic archive. Galanis’s practice is image-based, incorporating traditional documentary photography and film, short experimental films, new media abstractions of written, oral, and archival histories, along with a number of hybrid works including sculpture, collage, and installation. [. . .]</p>
  89.  
  90.  
  91.  
  92. <p>Galanis earned her MFA in Experimental and Documentary Arts from Duke University. She is a former Jon B. Lovelace Fellow for the Study of the Alan Lomax Collection at the Library of Congress; the inaugural Post-MFA Fellow of Documentary Arts at the Center for Documentary Studies at Duke University; and former Fellow of Film and Media Studies at Emory University. Tamika currently splits her time between The Bahamas and Upstate New York where she is an Assistant Professor of Film at Syracuse University.</p>
  93.  
  94.  
  95.  
  96. <p><strong>La Vaughn Belle</strong> makes visible the unremembered. Through exploring the material culture of coloniality Belle creates narratives from fragments and silences. Working in a variety of disciplines her practice includes painting, installation, photography, writing, video and public interventions. Her work with colonial era pottery led to a commission with the renowned brand of porcelain products, the Royal Copenhagen. [. . .] Her art is in the collections of the National Photography Museum and the Vestsjælland Museum in Denmark and the National Gallery of Art and the Virgina Fine Art Museum in the U.S. She is the co-creator of <em>I Am Queen Mary</em>, the artist-led groundbreaking monument that confronted the Danish colonial amnesia while commemorating the legacies of resistance of the African people who were brought to the former Danish West Indies. The project was featured in over 100 media outlets around the world including the NY Times, Politiken, VICE, the BBC and Le Monde. Her work has also been written about in <em>Hyperallergic</em>, <em>Artforum</em>, <em>Small Axe</em> and numerous journals and books.</p>
  97.  
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  99.  
  100. <p>Belle holds an MFA from the Instituto Superior de Arte in Havana, Cuba and an MA and BA from Columbia University in NY. She was a finalist for the She Built NYC project to develop a monument to memorialize the legacy of Shirley Chisholm and for the Inequality in Bronze project in Philadelphia to redesign one of the first monuments to an enslaved woman at the Stenton historic house museum. As a 2018-2020 fellow at the Social Justice Institute at the Barnard Research Center for Women at Columbia University she researched the citizenless Virgin Islanders in the Harlem Renaissance. She is a founding member of the Virgin Islands Studies Collective (VISCO). Her studio is based in the Virgin Islands.</p>
  101.  
  102.  
  103.  
  104. <p>For more information, see <a href="https://www.terngallery.com/">https://www.terngallery.com/</a></p>
  105.  
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  107.  
  108. <p>[Image Credits: Galanis’s “The Healer”; Belle’s “Storm (how to imagine the tropicalia as monumental-as sacrificial and bouyant).”]<br><br></p>
  109. ]]></content:encoded>
  111. <wfw:commentRss>https://repeatingislands.com/2024/05/16/exhibition-in-the-wake-of-haunting-breaking-down-barriers-of-place-and-time/feed/</wfw:commentRss>
  112. <slash:comments>1</slash:comments>
  116. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  117. <media:title type="html">ivetteromero</media:title>
  118. </media:content>
  119.  
  120. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/the-healer-untitled-1.jpg?w=600" medium="image" />
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  122. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/storm-how-to-imagine-the-tropicalia-as-monumental-as-sacrificial-and-bouyant-1.jpg?w=599" medium="image" />
  123. </item>
  124. <item>
  125. <title>New Book— “A New No-Man’s-Land: Writing and Art at Guantánamo”</title>
  126. <link>https://repeatingislands.com/2024/05/16/new-book-a-new-no-mans-land-writing-and-art-at-guantanamo/</link>
  127. <comments>https://repeatingislands.com/2024/05/16/new-book-a-new-no-mans-land-writing-and-art-at-guantanamo/#comments</comments>
  129. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  130. <pubDate>Thu, 16 May 2024 13:03:19 +0000</pubDate>
  131. <category><![CDATA[News]]></category>
  132. <category><![CDATA[Cuba]]></category>
  133. <category><![CDATA[Guantanamo]]></category>
  134. <guid isPermaLink="false">http://repeatingislands.com/?p=183343</guid>
  135.  
  136. <description><![CDATA[Esther Whitfield ‘s A New No-Man’s-Land: Writing and Art at Guantánamo, Cuba was published this month by University of Pittsburgh Press. Guillermina De Ferrari (University of Wisconsin–Madison) writes, “This outstanding book humanizes one of the most complex areas of the world in the last decades. The excellent research and elegant, measured prose reveal the human cost [&#8230;]]]></description>
  137. <content:encoded><![CDATA[<div class="wp-block-image">
  138. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg"><img width="400" height="599" data-attachment-id="183345" data-permalink="https://repeatingislands.com/2024/05/16/new-book-a-new-no-mans-land-writing-and-art-at-guantanamo/guantanamo-4/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg" data-orig-size="400,599" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="guantanamo" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=200" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=400" src="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=400" alt="" class="wp-image-183345" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg 400w, https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=100 100w, https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=200 200w" sizes="(max-width: 400px) 100vw, 400px" /></a></figure></div>
  139.  
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  141. <p></p>
  142.  
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  145. <p><strong>Esther Whitfield ‘s <em>A New No-Man’s-Land: Writing and Art at Guantánamo, Cuba</em> was published this month by University of Pittsburgh Press. Guillermina De Ferrari (University of Wisconsin–Madison) writes, “This outstanding book humanizes one of the most complex areas of the world in the last decades. The excellent research and elegant, measured prose reveal the human cost involved in indefinite isolation and extreme vulnerability, the intimacies that arise in the process, and the value of artistic expression to remain human even in inhuman conditions.” </strong></p>
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  149. <p><strong>Description</strong>: Guantánamo sits at the center of two of the most vexing issues of US policy of the past century: relations with Cuba and the Global War on Terror. It is a contested, extralegal space. In&nbsp;<em>A New No-Man’s-Land</em>, Esther Whitfield explores a multilingual archive of materials produced both at the US naval base and in neighboring Cuban communities and proposes an understanding of Guantánamo as a coherent borderland region, where experiences of isolation are opportunities to find common ground. She analyzes poetry, art, memoirs, and documentary films produced on both sides of the border. Authors and artists include prisoners, guards, linguists, chaplains, lawyers, and journalists, as well as Cuban artists and dissidents. Their work reveals surprising similarities: limited access to power and self-representation, mobility restricted by geography if not captivity, and immersion in political languages that have ascribed them rigid roles. Read together, the work of these disparate communities traces networks that extend among individuals in the Guantánamo region, inward to Cuba, and outward to the Caribbean, the Americas, Europe, and the Middle East.</p>
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  153. <p><strong>Esther Whitfield</strong>&nbsp;is associate professor of comparative literature and Hispanic studies at Brown University. She is author of&nbsp;<em>Cuban Currency: The Dollar and ‘Special Period’ Fiction</em>&nbsp;and coeditor, with Jacqueline Loss, of&nbsp;<em>New Short Fiction from Cuba</em>&nbsp;and, with Anke Birkenmaier, of&nbsp;<em>Havana beyond the Ruins: Cultural Mappings after 1989</em>. With Katerina Gonzalez Seligmann, she translated José Ramón Sánchez Leyva’s poetry collection,&nbsp;<em>The Black Arrow</em>.</p>
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  156.  
  157. <p>For more information, see <a href="https://upittpress.org/books/9780822948155/">https://upittpress.org/books/9780822948155/</a></p>
  158. ]]></content:encoded>
  160. <wfw:commentRss>https://repeatingislands.com/2024/05/16/new-book-a-new-no-mans-land-writing-and-art-at-guantanamo/feed/</wfw:commentRss>
  161. <slash:comments>2</slash:comments>
  165. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  166. <media:title type="html">ivetteromero</media:title>
  167. </media:content>
  168.  
  169. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/guantanamo.jpg?w=400" medium="image" />
  170. </item>
  171. <item>
  172. <title>Call for Submissions—Transoceanic Visual Exchange: Barbados &#038; Poland</title>
  173. <link>https://repeatingislands.com/2024/05/16/call-for-submissions-transoceanic-visual-exchange-barbados-poland/</link>
  174. <comments>https://repeatingislands.com/2024/05/16/call-for-submissions-transoceanic-visual-exchange-barbados-poland/#comments</comments>
  176. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  177. <pubDate>Thu, 16 May 2024 12:44:31 +0000</pubDate>
  178. <category><![CDATA[News]]></category>
  179. <guid isPermaLink="false">http://repeatingislands.com/?p=183338</guid>
  180.  
  181. <description><![CDATA[Here is a call for submissions from The Fresh Milk Art Platform (Barbados) and the Centre for Culture in Lublin (Poland) for contemporary artists practicing in the Caribbean, Ukraine, Poland or their diasporas to be included in the fifth edition of Transoceanic Visual Exchange (TVE), a series of programs between these countries, with an accompanying online exhibition.  The [&#8230;]]]></description>
  182. <content:encoded><![CDATA[<div class="wp-block-image">
  183. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg"><img loading="lazy" width="600" height="389" data-attachment-id="183341" data-permalink="https://repeatingislands.com/2024/05/16/call-for-submissions-transoceanic-visual-exchange-barbados-poland/gumbs-1/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg" data-orig-size="600,389" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="gumbs-1" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=600" src="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=600" alt="" class="wp-image-183341" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg 600w, https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=300 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></figure></div>
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  188.  
  189.  
  190. <p><strong>Here is a call for submissions from <a href="https://freshmilkbarbados.com/" target="_blank" rel="noreferrer noopener">The Fresh Milk Art Platform</a> (Barbados) and the <a href="https://ck.lublin.pl/" target="_blank" rel="noreferrer noopener">Centre for Culture in Lublin</a> (Poland) for contemporary artists practicing in the Caribbean, Ukraine, Poland or their diasporas to be included in the fifth edition of Transoceanic Visual Exchange (TVE), a series of programs between these countries, with an accompanying online exhibition. </strong></p>
  191.  
  192.  
  193.  
  194. <p><a href="https://freshmilkbarbados.com/" target="_blank" rel="noreferrer noopener">The Fresh Milk Art Platform</a>&nbsp;(Barbados) and the&nbsp;<a href="https://ck.lublin.pl/" target="_blank" rel="noreferrer noopener">Centre for Culture in Lublin</a>&nbsp;(Poland)—as part of Lublin&#8217;s bid for the European Capital of Culture 2029 title—are pleased to welcome submissions of recent film and video works – screenings, installations, new media, time-based media and expanded cinema – by contemporary artists, to be included in the fifth edition of Transoceanic Visual Exchange (TVE), a series of programs taking place this year between Barbados and Poland, with an accompanying online exhibition.&nbsp;The deadline for submissions is June 30, 2024.</p>
  195.  
  196.  
  197.  
  198. <p>Submitted works must have been completed in the last five years and must be made by artists practicing in the Caribbean, Poland, Ukraine and their diasporas. TVE 5 will be a collection of recent artists’ films and videos from each region. However, the final shape and content of the program will be informed by a community curatorial process, which aims to involve and promote discussion within the wider creative communities of each participating initiative.</p>
  199.  
  200.  
  201.  
  202. <p>Working between the Caribbean, Poland and Ukraine, TVE 5 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 publics.</p>
  203.  
  204.  
  205.  
  206. <p><strong>Submission Requirements</strong>: &nbsp;</p>
  207.  
  208.  
  209.  
  210. <ul>
  211. <li>Must be work from artists practicing in the Caribbean, Ukraine, Poland or their diasporas.</li>
  212.  
  213.  
  214.  
  215. <li>Must be work that has been completed/made in the last five years.</li>
  216.  
  217.  
  218.  
  219. <li>Can be films of any length (shorts, experimental, features and video artworks).</li>
  220.  
  221.  
  222.  
  223. <li>Can be in any language (films originally produced in regional languages are welcome).</li>
  224.  
  225.  
  226.  
  227. <li>Up to 3 submissions per applicant are welcome.</li>
  228.  
  229.  
  230.  
  231. <li>Must be accompanied by a description of the work (500 words max), a bio (200 words max) and details of any technical requirements i.e. audio, installation, equipment required, preferred setting etc.</li>
  232.  
  233.  
  234.  
  235. <li>Works must be mp4 files no larger than 100MB, or Vimeo/Youtube links with passwords if applicable.</li>
  236.  
  237.  
  238.  
  239. <li>Works must not have been submitted to the previous edition of TVE.</li>
  240.  
  241.  
  242.  
  243. <li>Please specify whether your submitted works have permission to be exhibited on an online space.</li>
  244. </ul>
  245.  
  246.  
  247.  
  248. <p>Deadline for submissions: June 30, 2024</p>
  249.  
  250.  
  251.  
  252. <p>For more information on TVE and its first four iterations, visit <a href="https://www.transoceanicvisualexchange.com/about">https://www.transoceanicvisualexchange.com/about</a></p>
  253.  
  254.  
  255.  
  256. <p>[Shown above: David Gumbs,&nbsp;«&nbsp;Rhapsodie Martinique: La Marche de la liberté,&nbsp;» 2021; TVE 4, 2021]</p>
  257. ]]></content:encoded>
  259. <wfw:commentRss>https://repeatingislands.com/2024/05/16/call-for-submissions-transoceanic-visual-exchange-barbados-poland/feed/</wfw:commentRss>
  260. <slash:comments>1</slash:comments>
  264. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  265. <media:title type="html">ivetteromero</media:title>
  266. </media:content>
  267.  
  268. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/gumbs-1.jpg?w=600" medium="image" />
  269. </item>
  270. <item>
  271. <title>Open Studios: Tilting Axis Fellowship 2024, Klieon John</title>
  272. <link>https://repeatingislands.com/2024/05/10/open-studios-tilting-axis-fellowship-2024-klieon-john/</link>
  273. <comments>https://repeatingislands.com/2024/05/10/open-studios-tilting-axis-fellowship-2024-klieon-john/#comments</comments>
  275. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  276. <pubDate>Fri, 10 May 2024 04:03:00 +0000</pubDate>
  277. <category><![CDATA[News]]></category>
  278. <guid isPermaLink="false">http://repeatingislands.com/?p=183334</guid>
  279.  
  280. <description><![CDATA[On Thursday, May 16, 2024, in a hybrid online and offline meeting, Tilting Axis and the Nieuwe Instituut will discuss the research project of this year’s fellow, Klieon John. Researcher Federica Notari and Tilting Axis co-founder Annalee Davis will discuss his project Nieuwe Bohío, in which he ultimately seeks to translate indigenous Caribbean history, culture and mythology into a cinematic augmented [&#8230;]]]></description>
  281. <content:encoded><![CDATA[<div class="wp-block-image">
  282. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png"><img loading="lazy" width="599" height="497" data-attachment-id="183336" data-permalink="https://repeatingislands.com/2024/05/10/open-studios-tilting-axis-fellowship-2024-klieon-john/map-axis_/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png" data-orig-size="599,497" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="map.axis_" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=599" src="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=599" alt="" class="wp-image-183336" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png 599w, https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=300 300w" sizes="(max-width: 599px) 100vw, 599px" /></a></figure></div>
  283.  
  284.  
  285. <p></p>
  286.  
  287.  
  288.  
  289. <p><strong>On Thursday, May 16, 2024, in a hybrid online and offline meeting, </strong><a href="https://tiltingaxis.org/" target="_blank" rel="noreferrer noopener"><strong>Tilting Axis</strong></a><strong> and the </strong><a href="https://nieuweinstituut.nl/" target="_blank" rel="noreferrer noopener"><strong>Nieuwe Instituut</strong></a><strong> will discuss the research project of this year’s fellow, </strong><a href="https://www.instagram.com/byklieonjohn/" target="_blank" rel="noreferrer noopener"><strong>Klieon John</strong></a><strong>. Researcher Federica Notari and Tilting Axis co-founder Annalee Davis will discuss his project <em>Nieuwe Bohío</em>, in which he ultimately seeks to translate indigenous Caribbean history, culture and mythology into a cinematic augmented reality experience.</strong></p>
  290.  
  291.  
  292.  
  293. <p>Writer, filmmaker and creative director&nbsp;<a href="https://www.instagram.com/byklieonjohn/" target="_blank" rel="noreferrer noopener">Klieon John</a>&nbsp;from the Federation of Saint Kitts and Nevis is the<a href="https://tiltingaxis.org/news/2023/9/18/klieon-john-selected-for-tilting-axis-fellowship-2024" target="_blank" rel="noreferrer noopener">&nbsp;fourth participant in the fellowship</a>&nbsp;that Tilting Axis and the institute have been offering to selected candidates from the Caribbean since 2019. The Nieuwe Instituut is once again the main partner and host, collaborating with the Amsterdam Museum, De Appel, the Stedelijk Museum Amsterdam and Kunstinstituut Melly.</p>
  294.  
  295.  
  296.  
  297. <p>This presentation focuses on the <em>Nieuwe Bohío</em> project. In this, Klieon John is researching the indigenous Taíno and Kalinago cultures of the Caribbean, which he hopes to translate into an immersive AR experience that will have a transformative effect on the viewer. Based on the results of the research, John aims to develop practical applications that can be used in architectural research and social work. Past and present, European and Indigenous Caribbean culture, traditional and contemporary storytelling, building and play techniques come together in a whole that combines innovative design practice with a respectful way of dealing with (Indigenous) heritage and the communities that inhabit it.&nbsp;<a href="https://nieuweinstituut.nl/en/articles/jury-report-tilting-axis-2024">Read more in the jury report</a>. [. . .]</p>
  298.  
  299.  
  300.  
  301. <p>For more information, or to RSVP, go to <a href="https://freshmilkbarbados.com/2024/05/09/open-studios-tilting-axis-fellowship-2024-klieon-john/">https://freshmilkbarbados.com/2024/05/09/open-studios-tilting-axis-fellowship-2024-klieon-john/</a></p>
  302.  
  303.  
  304.  
  305. <p>[Shown above: <em>A New Mapp of the Island of St. Christophers being an Actual Survey taken by Andrew Norwood Surveyr. Genll. / A New Map of the Island Guardalupa / A New Mapp of the Island Martineca London. 1698 circa (1750 ca)</em>.]</p>
  306. ]]></content:encoded>
  308. <wfw:commentRss>https://repeatingislands.com/2024/05/10/open-studios-tilting-axis-fellowship-2024-klieon-john/feed/</wfw:commentRss>
  309. <slash:comments>1</slash:comments>
  313. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  314. <media:title type="html">ivetteromero</media:title>
  315. </media:content>
  316.  
  317. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/map.axis_.png?w=599" medium="image" />
  318. </item>
  319. <item>
  320. <title>New Book: “Handbook of Gender Studies in the Dutch Caribbean”</title>
  321. <link>https://repeatingislands.com/2024/05/10/new-book-handbook-of-gender-studies-in-the-dutch-caribbean/</link>
  322. <comments>https://repeatingislands.com/2024/05/10/new-book-handbook-of-gender-studies-in-the-dutch-caribbean/#comments</comments>
  324. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  325. <pubDate>Fri, 10 May 2024 04:02:00 +0000</pubDate>
  326. <category><![CDATA[News]]></category>
  327. <guid isPermaLink="false">http://repeatingislands.com/?p=183330</guid>
  328.  
  329. <description><![CDATA[Handbook of Gender Studies in the Dutch Caribbean, edited by Rose Mary Allen and Sruti Bala, was published by Brill Academic in April 2024. [Many thanks to Peter Jordens for bringing this item to our attention.] Edited by Rose Mary Allen and Sruti Bala, this comprehensive handbook of gender studies scholarship on the Dutch Caribbean [&#8230;]]]></description>
  330. <content:encoded><![CDATA[<div class="wp-block-image">
  331. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg"><img loading="lazy" width="393" height="600" data-attachment-id="183331" data-permalink="https://repeatingislands.com/2024/05/10/new-book-handbook-of-gender-studies-in-the-dutch-caribbean/brill-gender/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg" data-orig-size="393,600" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="brill.gender" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=197" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=393" src="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=393" alt="" class="wp-image-183331" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg 393w, https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=98 98w, https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=197 197w" sizes="(max-width: 393px) 100vw, 393px" /></a></figure></div>
  332.  
  333.  
  334. <p></p>
  335.  
  336.  
  337.  
  338. <p><strong><em>Handbook of Gender Studies in the Dutch Caribbean</em></strong><strong>, edited by Rose Mary Allen and Sruti Bala, was published by Brill Academic in April 2024. [Many thanks to Peter Jordens for bringing this item to our attention.]</strong><br><br>Edited by Rose Mary Allen and Sruti Bala, this comprehensive handbook of gender studies scholarship on the Dutch Caribbean islands thematically covers the history of movements for gender equality; the relation of gender to race, colonialism, sexuality; and the arts and popular culture. The handbook offers unparalleled insights into a century of debates around gender from the six islands of the Dutch Caribbean (Curaçao, Bonaire, Aruba, St. Maarten, St. Eustatius and Saba).<br><br>This handbook It illuminates the diversity and complexity of Dutch Caribbean gender history, culture and politics, covering five decades of scholarship, source texts, and literary expression. [. . .] Besides key academic writings, it includes primary historical sources, translations from Papiamento and Dutch, as well as personal memoirs and poetry.<br><br><strong>Rose Mary Allen</strong> is Extraordinary Professor in the field of Culture, Community and History at the University of Curaçao Dr. Moises da Costa Gomez and a pioneer of oral history research. Her recent publications include a co-edited volume on the history and legacies of Dutch colonial slavery history, <em>Staat en slavernij: het Nederlandse koloniale slavernijverleden en zijn doorwerkingen</em> [<em>State and slavery: Dutch colonial slavery history and its repercussions</em>] (Athenaeum Publishers, 2023).<br><br><strong>Sruti Bala</strong> is associate professor in theater and performance studies at the University of Amsterdam. Her publications include ‘The Gestures of Participatory Art’ (2018) and the co-edited volume, <em>The Global Trajectories of Queerness: Re-thinking Same-Sex Politics in the Global South</em> (Brill/Rodopi, 2015).</p>
  339.  
  340.  
  341.  
  342. <p>For more information, see <a href="https://brill.com/display/title/69526">https://brill.com/display/title/69526</a></p>
  343. ]]></content:encoded>
  345. <wfw:commentRss>https://repeatingislands.com/2024/05/10/new-book-handbook-of-gender-studies-in-the-dutch-caribbean/feed/</wfw:commentRss>
  346. <slash:comments>1</slash:comments>
  350. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  351. <media:title type="html">ivetteromero</media:title>
  352. </media:content>
  353.  
  354. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/brill.gender.jpg?w=393" medium="image" />
  355. </item>
  356. <item>
  357. <title>Lecture— “Cheddi Jagan: Developmentalist and Political Visionary”</title>
  358. <link>https://repeatingislands.com/2024/05/10/lecture-cheddi-jagan-developmentalist-and-political-visionary/</link>
  359. <comments>https://repeatingislands.com/2024/05/10/lecture-cheddi-jagan-developmentalist-and-political-visionary/#comments</comments>
  361. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  362. <pubDate>Fri, 10 May 2024 04:01:00 +0000</pubDate>
  363. <category><![CDATA[News]]></category>
  364. <guid isPermaLink="false">http://repeatingislands.com/?p=183326</guid>
  365.  
  366. <description><![CDATA[The Yesu Persaud Centre for Caribbean Studies’ annual Ameena Gafoor Lecture will be delivered by H. E. Hon President Donald Ramotar—“Cheddi Jagan: Developmentalist and Political Visionary”—on Wednesday, May 22, at 5:15pm. This lecture will be held in Room S0.19, Social Sciences Building, Main Campus, University of Warwick. This is a free, in-person event, open to [&#8230;]]]></description>
  367. <content:encoded><![CDATA[<div class="wp-block-image">
  368. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png"><img loading="lazy" width="599" height="464" data-attachment-id="183327" data-permalink="https://repeatingislands.com/2024/05/10/lecture-cheddi-jagan-developmentalist-and-political-visionary/cheddi-3/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png" data-orig-size="599,464" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="cheddi" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=599" src="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=599" alt="" class="wp-image-183327" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png 599w, https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=300 300w" sizes="(max-width: 599px) 100vw, 599px" /></a></figure></div>
  369.  
  370.  
  371. <p></p>
  372.  
  373.  
  374.  
  375. <p>The Yesu Persaud Centre for Caribbean Studies’ annual Ameena Gafoor Lecture will be delivered by H. E. Hon President Donald Ramotar—“Cheddi Jagan: Developmentalist and Political Visionary”—on Wednesday, May 22, at 5:15pm.<br><br>This lecture will be held in Room S0.19, Social Sciences Building, Main Campus, University of Warwick. This is a free, in-person event, open to all and no need to book. Refreshments will be provided.</p>
  376.  
  377.  
  378.  
  379. <p>For more information, see <a href="https://warwick.ac.uk/insite/events/events/b4">https://warwick.ac.uk/insite/events/events/b4</a></p>
  380. ]]></content:encoded>
  382. <wfw:commentRss>https://repeatingislands.com/2024/05/10/lecture-cheddi-jagan-developmentalist-and-political-visionary/feed/</wfw:commentRss>
  383. <slash:comments>1</slash:comments>
  387. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  388. <media:title type="html">ivetteromero</media:title>
  389. </media:content>
  390.  
  391. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/cheddi.png?w=599" medium="image" />
  392. </item>
  393. <item>
  394. <title>National Art Gallery of the Bahamas: Job Opportunity</title>
  395. <link>https://repeatingislands.com/2024/05/09/national-art-gallery-of-the-bahamas-job-opportunity/</link>
  396. <comments>https://repeatingislands.com/2024/05/09/national-art-gallery-of-the-bahamas-job-opportunity/#comments</comments>
  398. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  399. <pubDate>Thu, 09 May 2024 16:51:55 +0000</pubDate>
  400. <category><![CDATA[News]]></category>
  401. <guid isPermaLink="false">http://repeatingislands.com/?p=183323</guid>
  402.  
  403. <description><![CDATA[The National Art Gallery of the Bahamas (NAGB) is hiring an Executive Director. The Executive Director (ED) is the Chief Executive of the NAGB and reports directly to the Board of Directors. The ED is the public face of the NAGB and works directly with government entities and agencies, cultural institutions, regional and international organizations, [&#8230;]]]></description>
  404. <content:encoded><![CDATA[<div class="wp-block-image">
  405. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg"><img loading="lazy" width="600" height="403" data-attachment-id="183324" data-permalink="https://repeatingislands.com/2024/05/09/national-art-gallery-of-the-bahamas-job-opportunity/joiri-3/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg" data-orig-size="600,403" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="joiri" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=600" src="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=600" alt="" class="wp-image-183324" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg 600w, https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=300 300w" sizes="(max-width: 600px) 100vw, 600px" /></a></figure></div>
  406.  
  407.  
  408. <p></p>
  409.  
  410.  
  411.  
  412. <p><strong>The National Art Gallery of the Bahamas (NAGB) is hiring an Executive Director. The Executive Director (ED) is the Chief Executive of the NAGB and reports directly to the Board of Directors. The ED is the public face of the NAGB and works directly with government entities and agencies, cultural institutions, regional and international organizations, and the NAGB’s major donors. The deadline for applications is May 27, 2024, to work in a space crucial in shaping and developing the visual arts and culture of The Bahamas.</strong></p>
  413.  
  414.  
  415.  
  416. <p><strong>JOB DETAILS: </strong>The NAGB is seeking an outstanding candidate to lead this high-functioning institution at a time when cultural leadership and community engagement are critical aspects of national development. The Executive Director (ED) is the Chief Executive of the NAGB and reports directly to the Board of Directors. The ED is also a member of the Board of Directors and works extensively with the Chairman and individual Board Committees in coordinating the overall governance and oversight functions of the Board. The ED is the public face of the NAGB and works directly with government entities and agencies, cultural institutions, regional and international organizations, and the NAGB’s major donors. The ED leads and directs the NAGB’s development and fundraising efforts.</p>
  417.  
  418.  
  419.  
  420. <p>As Chief Executive, the ED is responsible for communicating and promoting the mission, vision, and values of the NAGB, overseeing the development and execution of the associated strategic plan, and leading, guiding, and evaluating the Curatorial Manager and other department heads. Finally, the ED is responsible for inspiring the confidence and support of NAGB staff and other key stakeholders toward helping the institution grow and flourish.</p>
  421.  
  422.  
  423.  
  424. <p>The ED will oversee a team of approximately 20 full-time and 5 part-time staff, directly managing a five- member senior leadership team with an annual budget of $1.3 million. This is a full-time position.</p>
  425.  
  426.  
  427.  
  428. <p>For full details about this position, go to <a href="https://nagb.org.bs/executive-director-opportunity">https://nagb.org.bs/executive-director-opportunity</a></p>
  429.  
  430.  
  431.  
  432. <p>[Pictured above: “Invitation to Transgress”, 2017. Joiri Minaya. Installation with spandex. 10 x 26’. Collection of the artist.]</p>
  433. ]]></content:encoded>
  435. <wfw:commentRss>https://repeatingislands.com/2024/05/09/national-art-gallery-of-the-bahamas-job-opportunity/feed/</wfw:commentRss>
  436. <slash:comments>1</slash:comments>
  440. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  441. <media:title type="html">ivetteromero</media:title>
  442. </media:content>
  443.  
  444. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/joiri.jpg?w=600" medium="image" />
  445. </item>
  446. <item>
  447. <title>CFP— “Writing for Our Lives: A Climate Justice Anthology”</title>
  448. <link>https://repeatingislands.com/2024/05/09/cfp-writing-for-our-lives-a-climate-justice-anthology/</link>
  449. <comments>https://repeatingislands.com/2024/05/09/cfp-writing-for-our-lives-a-climate-justice-anthology/#comments</comments>
  451. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  452. <pubDate>Thu, 09 May 2024 16:43:03 +0000</pubDate>
  453. <category><![CDATA[News]]></category>
  454. <category><![CDATA[anthology]]></category>
  455. <category><![CDATA[books]]></category>
  456. <category><![CDATA[climate-justice]]></category>
  457. <category><![CDATA[writing-for-our-lives]]></category>
  458. <guid isPermaLink="false">http://repeatingislands.com/?p=183318</guid>
  459.  
  460. <description><![CDATA[The Cropper Foundation recently announced a call for submissions for an anthology—Writing for Our Lives: A Climate Justice Anthology—edited by Funso Aiyejina and Shivanee Ramlochan, and to be published by Peekash Press. The application deadline is June 7, 2024 (midnight, AST). To be eligible, writers must:&#160; For detailed guidelines, visit https://thecropperfoundation.org/writingforourlives/ Description: Writing for Our Lives&#160;was [&#8230;]]]></description>
  461. <content:encoded><![CDATA[<div class="wp-block-image">
  462. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png"><img loading="lazy" width="439" height="598" data-attachment-id="183321" data-permalink="https://repeatingislands.com/2024/05/09/cfp-writing-for-our-lives-a-climate-justice-anthology/jscandbs-1-1/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png" data-orig-size="439,598" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="jscandbs-1-1" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=220" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=439" src="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=439" alt="" class="wp-image-183321" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png 439w, https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=110 110w, https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=220 220w" sizes="(max-width: 439px) 100vw, 439px" /></a></figure></div>
  463.  
  464.  
  465. <p></p>
  466.  
  467.  
  468.  
  469. <p><strong><a href="https://thecropperfoundation.org/writingforourlives/">The Cropper Foundation</a> recently announced a call for submissions for an anthology—<em>Writing for Our Lives: A Climate Justice Anthology</em>—edited by Funso Aiyejina and Shivanee Ramlochan, and to be published by Peekash Press. The application deadline is June 7, 2024 (midnight, AST).</strong></p>
  470.  
  471.  
  472.  
  473. <p><strong>To be eligible, writers must:&nbsp;</strong></p>
  474.  
  475.  
  476.  
  477. <ul>
  478. <li><strong>Be Caribbean nationals living and working in the Caribbean and writing in English; </strong></li>
  479.  
  480.  
  481.  
  482. <li><strong>Be at least 18 years old by June 7, 2024; </strong></li>
  483.  
  484.  
  485.  
  486. <li><strong>Submit pieces relevant to the theme of Climate Justice in a Caribbean context. </strong></li>
  487. </ul>
  488.  
  489.  
  490.  
  491. <p><strong>For detailed guidelines, visit <a href="https://thecropperfoundation.org/writingforourlives/">https://thecropperfoundation.org/writingforourlives/</a></strong></p>
  492.  
  493.  
  494.  
  495. <p><strong>Description:</strong> <em>Writing for Our Lives&nbsp;</em>was conceived as an anthology of stories illuminating the urgency of the climate crisis for people and communities of Caribbean states marked by their varied yet substantial vulnerabilities. These stories will consider the implications for the health, livelihoods, culture, heritage, and well-being of the many who go unseen, unheard and, ultimately, unaccounted for in the decision-making of those with power, purveyors of our collective resources.&nbsp;&nbsp;</p>
  496.  
  497.  
  498.  
  499. <p>The anthology will be published through the Trinidad and Tobago-based imprint Peekash Press, producing an initial e-book for international release at the annual landmark climate conference, COP29 in November 2024. A regional launch of print and audio publications will follow in the first quarter of 2025.&nbsp;&nbsp;</p>
  500.  
  501.  
  502.  
  503. <p>The Call for Submissions&nbsp;for the&nbsp;<em>Writing for Our Lives</em>&nbsp;anthology under the Today Today, Congotay! project opens on&nbsp;May 7, 2024. The application deadline is&nbsp;June 7, 2024, at midnight AST time. No late entries will be accepted.&nbsp;</p>
  504.  
  505.  
  506.  
  507. <p>For any queries about eligibility requirements or the application process, please contact the anthology coordinators at&nbsp;<a href="mailto:writing@thecropperfoundation.org">writing@thecropperfoundation.org</a>.&nbsp;&nbsp;</p>
  508.  
  509.  
  510.  
  511. <p><strong>Why The Cropper Foundation?</strong></p>
  512.  
  513.  
  514.  
  515. <p>The project builds on the legacy of founders John and Angela Cropper’s vision for a seminal environment for the strengthening and exploration of Caribbean identity through literature. Beginning in 2000, the same year the Foundation was registered, the Cropper Writing Residency was one of the first ventures of the newly formed non-profit.&nbsp;&nbsp;</p>
  516.  
  517.  
  518.  
  519. <p>Through its fifteen (ten adult and five teenaged) residential three-week workshops to date, led by award-winning writers Funso Aiyejina and Merle Hodge, the programme has helped mold over 180 Caribbean writers from almost every country in the anglophone Caribbean.&nbsp;&nbsp;</p>
  520.  
  521.  
  522.  
  523. <p>Many of these writers have gone on to publish with some earning major regional and global literary distinctions and accolades – among them, Jamaican Kei Miller and TT authors Ayanna Lloyd-Banwo, Danielle Boodoo-Fortune and Barbara Jenkins.&nbsp;&nbsp;</p>
  524.  
  525.  
  526.  
  527. <p><br>For more information, visit&nbsp;<a href="https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fthecropperfoundation.org%2Fwritingforourlives&amp;data=05%7C02%7CIvette.Romero%40marist.edu%7C1dd42ada5f0546eab6b608dc6fa15bb6%7C14a1af9eb28c4b27b24325c33db6fffa%7C0%7C0%7C638507986018340715%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C0%7C%7C%7C&amp;sdata=JmVpZdg5QpQUQqWtYacCP4WcKkZeWP4f206Qw2rnlpo%3D&amp;reserved=0" target="_blank" rel="noreferrer noopener">https://thecropperfoundation.org/writingforourlives</a>&nbsp;or contact&nbsp;<a href="mailto:writing@thecropperfoundation.org">writing@thecropperfoundation.org</a>.</p>
  528. ]]></content:encoded>
  530. <wfw:commentRss>https://repeatingislands.com/2024/05/09/cfp-writing-for-our-lives-a-climate-justice-anthology/feed/</wfw:commentRss>
  531. <slash:comments>1</slash:comments>
  535. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  536. <media:title type="html">ivetteromero</media:title>
  537. </media:content>
  538.  
  539. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/jscandbs-1-1.png?w=439" medium="image" />
  540. </item>
  541. <item>
  542. <title>Elizabeth Colomba at TEFAF New York</title>
  543. <link>https://repeatingislands.com/2024/05/09/elizabeth-colomba-at-tefaf-new-york/</link>
  544. <comments>https://repeatingislands.com/2024/05/09/elizabeth-colomba-at-tefaf-new-york/#comments</comments>
  546. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  547. <pubDate>Thu, 09 May 2024 16:40:39 +0000</pubDate>
  548. <category><![CDATA[News]]></category>
  549. <category><![CDATA[Art]]></category>
  550. <category><![CDATA[Elizabeth Colomba]]></category>
  551. <category><![CDATA[Martinican artists]]></category>
  552. <category><![CDATA[New York City]]></category>
  553. <guid isPermaLink="false">http://repeatingislands.com/?p=183315</guid>
  554.  
  555. <description><![CDATA[Elizabeth Colomba’s painting “Orientalism &#8211; Plate 1” (detail above) will be featured at TEFAF New York in Venus Over Manhattan’s inaugural presentation, based on recent and historic works presented in dialogue. See work at Historic Room 103, Park Avenue Armory, 643 Park Avenue, New York, New York, from May 10-14, 2024. Venus Over Manhattan is pleased [&#8230;]]]></description>
  556. <content:encoded><![CDATA[<div class="wp-block-image">
  557. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png"><img loading="lazy" width="599" height="365" data-attachment-id="183316" data-permalink="https://repeatingislands.com/2024/05/09/elizabeth-colomba-at-tefaf-new-york/venus-detail/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png" data-orig-size="599,365" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="venus.detail" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=599" src="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=599" alt="" class="wp-image-183316" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png 599w, https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=300 300w" sizes="(max-width: 599px) 100vw, 599px" /></a></figure></div>
  558.  
  559.  
  560. <p></p>
  561.  
  562.  
  563.  
  564. <p><strong>Elizabeth Colomba’s painting “Orientalism &#8211; Plate 1” (detail above) will be featured at TEFAF New York in Venus Over Manhattan’s inaugural presentation, based on recent and historic works presented in dialogue. See work at Historic Room 103, Park Avenue Armory, 643 Park Avenue, New York, New York, from May 10-14, 2024.</strong></p>
  565.  
  566.  
  567.  
  568. <p>Venus Over Manhattan is pleased to announce the gallery&#8217;s inaugural presentation at TEFAF New York with an engaging selection of important recent and historic works presented in dialogue. Reflecting the spirit of the gallery’s growing program, this year’s booth (Historic Room 103) will feature rare and key examples by Robert Colescott, Joan Brown, and Richard Mayhew, among many others.</p>
  569.  
  570.  
  571.  
  572. <p>Artists featured in the presentation include: Xenobia Bailey, Seth Becker, Joan Brown, Robert Colescott, Elizabeth Colomba, Mark Thomas Gibson, Brad Kahlhamer, Claude Lawrence, Richard Mayhew, Peter Saul, Keiichi Tanaami, Yuichiro Ukai, and H.C. Westermann.&nbsp;</p>
  573.  
  574.  
  575.  
  576. <p><strong>Elizabeth Colomba</strong>&nbsp;is born in&nbsp;France and raised in Épinay-sur-Seine,&nbsp;from parents of Martinican descent. She lives and works in New York City. Elizabeth received a degree in applied art from the Estienne School of Art, Paris and also studied at the École Nationale Supérieure des Beaux-Arts, Paris.</p>
  577.  
  578.  
  579.  
  580. <p><strong>Venus Over Manhattan</strong> is located at 39 + 55 Great Jones Street, New York, New York.</p>
  581.  
  582.  
  583.  
  584. <p>For further information about the exhibition and availability, please contact the gallery at&nbsp;<a href="mailto:zach@venusovermanhattan.com?subject=Inquiry%3A%20Venus%20Over%20Manhattan%20at%20TEFAF%20New%20York%202024">info@venusovermanhattan.com</a></p>
  585. ]]></content:encoded>
  587. <wfw:commentRss>https://repeatingislands.com/2024/05/09/elizabeth-colomba-at-tefaf-new-york/feed/</wfw:commentRss>
  588. <slash:comments>1</slash:comments>
  592. <media:content url="https://2.gravatar.com/avatar/568b1a4a96272b4847a3158c70657c4d2c2970b7da1032c5c57053a433bbb29a?s=96&#38;d=identicon&#38;r=G" medium="image">
  593. <media:title type="html">ivetteromero</media:title>
  594. </media:content>
  595.  
  596. <media:content url="https://repeatingislands.com/wp-content/uploads/2024/05/venus.detail.png?w=599" medium="image" />
  597. </item>
  598. <item>
  599. <title>Curator’s Talk: Charles Zuill on Owen Merton (BNG)</title>
  600. <link>https://repeatingislands.com/2024/05/07/curators-talk-charles-zuill-on-owen-merton-bng/</link>
  601. <comments>https://repeatingislands.com/2024/05/07/curators-talk-charles-zuill-on-owen-merton-bng/#comments</comments>
  603. <dc:creator><![CDATA[ivetteromero]]></dc:creator>
  604. <pubDate>Tue, 07 May 2024 23:32:49 +0000</pubDate>
  605. <category><![CDATA[News]]></category>
  606. <category><![CDATA[Art]]></category>
  607. <category><![CDATA[bermuda]]></category>
  608. <category><![CDATA[owen-merton]]></category>
  609. <guid isPermaLink="false">http://repeatingislands.com/?p=183310</guid>
  610.  
  611. <description><![CDATA[The Bermuda National Gallery (BNG) invites the public to attend a Curator’s Talk on Tuesday, May 14, 2024, Owen&#8217;s Merton&#8217;s birthday. Dr Charles Zuill, curator of “A Bermuda Interlude: Paintings by Owen Merton”—currently on display in the Ondaatje Wing—will offer an insightful look into the life and career of the New Zealand painter who lived in Bermuda [&#8230;]]]></description>
  612. <content:encoded><![CDATA[<div class="wp-block-image">
  613. <figure class="aligncenter size-large"><a href="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png"><img loading="lazy" width="599" height="561" data-attachment-id="183312" data-permalink="https://repeatingislands.com/2024/05/07/curators-talk-charles-zuill-on-owen-merton-bng/sandsea/" data-orig-file="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png" data-orig-size="599,561" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="sandsea" data-image-description="" data-image-caption="" data-medium-file="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png?w=300" data-large-file="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png?w=599" src="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png?w=599" alt="" class="wp-image-183312" srcset="https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png 599w, https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png?w=150 150w, https://repeatingislands.com/wp-content/uploads/2024/05/sandsea.png?w=300 300w" sizes="(max-width: 599px) 100vw, 599px" /></a></figure></div>
  614.  
  615.  
  616. <p></p>
  617.  
  618.  
  619.  
  620. <p><strong>The <a href="https://bng.bm/exhibition/a-bermuda-interlude/">Bermuda National Gallery</a> (BNG) invites the public to attend a Curator’s Talk on Tuesday, May 14, 2024, Owen&#8217;s Merton&#8217;s birthday. Dr Charles Zuill, curator of “A Bermuda Interlude: Paintings by Owen Merton”—currently on display in the Ondaatje Wing—will offer an insightful look into the life and career of the New Zealand painter who lived in Bermuda several years. [Reception at 5.30pm, followed by talk at 6:00pm. Tickets $20 for BNG members, $30 for non-members.]</strong></p>
  621.  
  622.  
  623.  
  624. <p>New Zealand watercolourist&nbsp;<strong>Owen Merton</strong> (1887-1931)&nbsp;arrived in Bermuda in 1921 to paint the landscape, creating a striking Bermuda series which, upon his return to New York in 1923, was exhibited at Gallery Daniel, a gallery known for launching the careers of artists such as Man Ray and Aleksander Archipenko.</p>
  625.  
  626.  
  627.  
  628. <p><a href="https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fbng.us7.list-manage.com%2Ftrack%2Fclick%3Fu%3D34231c1be949cbce6610e2a17%26id%3D389511a215%26e%3D738367bef5&amp;data=05%7C02%7Civette.romero%40marist.edu%7C9d5f1e0f11bc46d1167608dc6ed89464%7C14a1af9eb28c4b27b24325c33db6fffa%7C0%7C0%7C638507123704700467%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C0%7C%7C%7C&amp;sdata=UeIajYEh7WKERiQH5CTZYX766sSNZiLTmkPz%2BbjdxyI%3D&amp;reserved=0" target="_blank" rel="noreferrer noopener">Owen Merton’s Bermuda pictures</a>&nbsp;are remarkable for their&nbsp;compressed space and incandescent colour&nbsp;– all aspects of a Modernist aesthetic. Where his earlier paintings were carefully rendered, Merton’s Bermuda brushwork is free and fluid, often with areas of unpainted paper. They mark a confident affinity for capturing the landscape and a&nbsp;distinct point of departure&nbsp;which forever changed the way that he worked.</p>
  629.  
  630.  
  631.  
  632. <p><strong>Dr Charles Zuill&nbsp;</strong>is a mixed media artist whose work is mostly experimental and tends to the abstract. In 1969 he received an MFA in painting and printmaking from the Rochester Institute of Technology and in 1984, he earned a PhD in critical studies from New York University.</p>
  633.  
  634.  
  635.  
  636. <p>For many years, he taught studio art, as well as art history, at Bermuda College, as well as other institutions of higher learning. He retired from teaching in 2005, but has continued making art. He also writes art criticism for the Royal Gazette. Zuill is a founding trustee of the Bermuda National Gallery, where he continues to serve on the Collections Committee.</p>
  637.  
  638.  
  639.  
  640. <p>For more information, see <a href="https://bng.bm/exhibition/a-bermuda-interlude/">https://bng.bm/exhibition/a-bermuda-interlude/</a></p>
  641.  
  642.  
  643.  
  644. <p>[Shown above: “Sand and Sea, Bermuda.” For more images, see <a href="https://bng.bm/exhibition/a-bermuda-interlude/">https://bng.bm/exhibition/a-bermuda-interlude/</a>.]</p>
  645.  
  646.  
  647.  
  648. <p></p>
  649.  
  650.  
  651.  
  652. <p></p>
  653.  
  654.  
  655.  
  656. <p></p>
  657. ]]></content:encoded>
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  660. <slash:comments>1</slash:comments>
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  672.  

If you would like to create a banner that links to this page (i.e. this validation result), do the following:

  1. Download the "valid RSS" banner.

  2. Upload the image to your own server. (This step is important. Please do not link directly to the image on this server.)

  3. Add this HTML to your page (change the image src attribute if necessary):

If you would like to create a text link instead, here is the URL you can use:

http://www.feedvalidator.org/check.cgi?url=http%3A//repeatingislands.com/feed/

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