Panel discussion, chairs: Leon Wainwright, Tirzo Martha, Kitty Zijlmans, Alex van Stipriaan  ​On 5-6 February 2013, the Tropenmuseum, Amsterdam (KIT, Royal Tropical Institute) hosted the project conference ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’.

Workshop Two: Networks and Infrastructure, chaired by Kitty Zijlmans and Leon Wainwright  On 5-6 February 2013, the Tropenmuseum, Amsterdam (KIT, Royal Tropical Institute) hosted the project conference ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’.

Leon Wainwright and Kitty Zijlmans, Workshop One: What is the basis for a Caribbean community and what role may art play?  On 5-6 February 2013, the Tropenmuseum, Amsterdam (KIT, Royal Tropical Institute) hosted the project conference ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’.

Leon Wainwright, Roundtable discussion  Chair: Leon Wainwright Tropenmuseum The Tropenmuseum, Amsterdam (KIT, Royal Tropical Institute) On 5-6 February 2013, the Tropenmuseum, Amsterdam (KIT, Royal Tropical Institute) hosted the project conference ‘Sustainable Art Communities: Creativity and Policy in the Transnational Caribbean’.

Alex van Stipriaan, Remy’s and Marcel’s community/ties  This presentation will be focused on two artists – Remy Jungerman (1959) and Marcel Pinas (1971) – who were both born in or around the small mining town of Moengo, Suriname. Although no more than twelve years apart in age, they seem to belong to different generations in their respective careers. Nevertheless, these career paths cross with increasing frequency, and Moengo is their meeting and workplace, as well as a point of reference.

Marlon Griffith, Location and actions  Griffith says it has taken a long time as a person and artist to discover the complexities of an artwork and the resolution that lies in a simple object or gesture. Only through dialogue has Griffith been able to discover more about his work: ideas on paper and gestures which aren’t always activated immediately but may become part of wider narratives.

Tessa  Jackson, The Institute of International Visual Arts (Iniva, UK) as research partner  Tessa Jackson will give a brief introduction to the Institute of International Visual Arts (Iniva, UK: www.iniva.org), its role of ‘making the invisible visible’ in the visual arts, and how it works at the intersection of society and politics through artistic practice. Iniva, since its inception in 1994, has been focused upon exploring other art histories through exhibitions, debates, research, education activities and digital projects.

Roshini Kempadoo, State of Play: Technologies, Diaspora and Caribbean visual culture  Kempadoo’s contribution will explore ways in which Caribbean diasporic artists (as first/second generation British Caribbean/Canadian artists) engage and respond to the work by emergent Caribbean artists practising in the Caribbean.

Petrina Dacres, Caribbean art in the present  During the 1960s art was an integral aspect of governmental policy in Jamaica. That support has dwindled over the last few decades; moreover, as governments change so too have art policies changed and projects been disrupted. In these contexts, artists and curators have created their own independent projects. Using a number of case studies, this presentation will examine several art-related initiatives in Jamaica.

Nicholas Morris, Randnotizen: Notes from the edge  The practice of ‘art’ – taken here to mean communication through the expressive manipulation of objects – is the flash-lit tracing of a fragmentary map: like an arrow shot or a line drawn from point to point on a surface, an artwork flares to briefly illuminate the location of the artist and his or her imagination for the waiting receiver.