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Immigrant Artist Project New York

Through the Immigrant Artist Project (IAP), the New York Foundation for the Arts is building and serving a community of artists with diverse backgrounds who share the experience of immigration. We connect artists with services and resources to foster their creative careers, gain support and exposure for their work, and integrate into the cultural world of New York and beyond while upholding their distinct identities.

The free Con Edison IAP Newsletter is sent out via email and posted online every month. The newsletter lists information on upcoming opportunities and events of particular interest to immigrant artists but open to all. We also feature an artist or an arts/immigrant services organization, and helpful tips for professional development. Additionally, there are new sections on helpful tips translated into different languages as well as the Mentoring Alumni Corner to highlight the achievements and activities of past mentees of our Mentoring Program for Immigrant Artists.

Cultural Community Events expand the accessibility of the Immigrant Artist Project by offering instructional workshops, seminars, and panels on themes responsive to the needs of immigrant artists. Some topics include grant writing, legal services and marketing. To present these programs, we partner with cultural, advocacy, social and immigrant service organizations throughout New York City. This approach cultivates and strengthens a network of advocates and service providers for immigrant artists.

The Individual Consultation Initiative provides immigrant artists with practical and professional advice from an arts professional who has extensive experience in supporting artists in the areas of visual and performing arts. Each in-person appointment is $30 for a 30-minute session.

The Mentoring Program for Immigrant Artists pairs emerging foreign-born artists with artists who have received a NYFA Fellowship. The mentors interact with their mentees one-on-one for a period of six months, guiding them in achieving specific goals and providing them with broader access to the New York cultural world through an exchange of ideas, resources and experiences. The program helps immigrant artists build some necessary skills to fairly compete as professional artists in New York.

The NYFA Folk Artist Development Program helps senior members of immigrant communities build professional skills and resources to carry forward their traditional art forms. It is open to traditional artists of the material and/or performing arts. We build the capacity of participants through seminars, workshops, and individual consultations. We also provide them with the opportunity to showcase their traditions in demonstrations and performances for diverse audiences at various sites in the NYC area. Artists are provided a $100 stipend for their participation in the program.

Email:
i.outreach@nyfa.org
Phone: 212-366-6900 x249
Address:
New York Foundation for the Arts
20 Jay St, Suite 740, Brooklyn NY 11201


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Racist, Anti-Immigrant Art from the Turn of the 20th Century

In this cartoon, an Irishman and a Chinese man are devouring Uncle Sam. Ultimately, the Chinese man consumes them both and steals the Irishman’s hat.

There was a time in America when the Irish were characterized as apes, Italians as street filth, and Chinese as parasitic locusts. Today, these groups are key tiles in the American mosaic, but their arrival was initially met with fear and opposition. Newspapers and magazine cartoons from the turn of the 20th century illustrate these sentiments.

Many of these images were originally published in humor magazines such as Puck and The Wasp. Though modern-day viewers might see them as racist propaganda, perhaps in their time they functioned more as political satire. Think of Stephen Colbert and his hyperbolic, politically incorrect Chinese caricature, Ching Chong Ding Dong. One hundred years from now, people watching Colbert Report archives might misinterpret the comedy as something more sinister.

But it is safe to say there was a more sinister attitude toward immigrants in the country at the turn of the 20th century. The Chinese Exclusion Act of 1882 made it government policy to restrict an ethnic group’s ability to enter the country. In 1896, an Atlantic author called immigrants”a hopeless burden” that would dilute the industriousness of the nation. In 1917, the Immigration Act barred a whole range of individuals – including the illiterate, the “feeble minded,” and homosexuals – from entering the country. Many of the images in this gallery echo these fears and portray immigrants, particularly the Chinese and the Irish, as parasites devouring what Americans hold dear.

 Regardless of these measures and sentiments, the immigrants saw the America as an ark of refuge, as the last image in this gallery shows. And although these images are hundred years old, a lot of the conversation on immigration remains the same. Today, immigrants – mostly from Latin America – have a similar dream to those who sought refuge in the 1900s. And many Americans have similar fears about what role, if any, these American hopefuls should play.
The article by Brian Resnick (with many examples of images) in The Atlantic.
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Jewish Tombstones for Everyday Use – Lukasz Baksik

a photo of grinding wheel made of matzevot

"Matzevot for Everyday Use", Lukasz Baksik, 2008-2011

Photographer Łukasz Baksik (born in 1975) is primarily interested in documentary photography. All of his previous projects (e.g. Main Course Polish Style, Ordering a Beer, or The People of Nowy Square) contained a crucial social component. For many years Łukasz Baksik has been documenting Jewish cemeteries in Poland.

Embellished with symbols and inscriptions, Jewish tombstones convey information about the life of people, families and entire shtetls (towns). How many matzevot were there before the World War II at the 1,200 Jewish cemeteries in Poland? This is a question, which nobody can answer today. The number may have reached a few hundred thousand or a few million.

More than four hundred Jewish cemeteries did not survive the war times. They were rearranged to provide sites for housing estates, sports fields, garbage dumps or sand quarries. The sand mined from them to build houses was mixed with human remains. Only a hundred and fifty graveyards still have more than a hundred gravestones.

During the World War II the Nazi occupants used matzevot to pave the courtyards of their new buildings, to lay roads or erect walls. Poles continued this infamous practice after the war. Matzevot were used, for instance, to line a water pool for fire fighters, a railway embankment or a riverbank. They were used as building material for furnaces, flooring and road curbs. A visitor will find hundreds of grinding wheels made of matzevot, many of them still bearing Hebrew inscriptions.

The excibition “Matzevot for Everyday Use” forms part of 22 Jewish Culture Festival which takes place in Krakow – Poland from 29 of June until 8 of July 2012.

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Yael Bartana – “And Europe Will Be Stunned”

And Europe Will Be Stunned (2011) is the compelling trilogy of films made by Israeli artist Yael Bartana, which premiered at the 54th Venice Biennale last year, making Bartana the first non-national to exhibit in the Polish Pavilion. Revolving around the activities of the Jewish Renaissance Movement in Poland, a group that calls for the return of three million Jews to Poland, Bartana’s films traverse a landscape scarred by the histories of competing nationalisms and nightmares across Europe and the Middle East.

Bartana expertly mixes imagery reminiscent of the historical past with the present, and raises questions of identity and belonging, leaving us to pause and question our own concepts of home and homeland.  In raising these questions regarding the complexities of cultural integration, interwoven with reality and fiction, her films challenge us to question our own understanding and acceptance of historical events.

Her film trilogy – Mary Koszmary (Nightmares) (2007), Mur i wieża (Wall and Tower) (2009), Zamach (Assassination) (2011) -  is on view from 24th of March until 26th of August 2012 in Van Abbemuseum in Eindhoven – The Netherlands.

Visiting address:
Bilderdijklaan 10
5611 NH Eindhoven
The Netherlands

You can also attend the upcoming symposium on 18th of May at the Whitechapel Gallery in London – ‘And Will Europe Be Stunned?’ – which opens up the debates sparked by these highly ambitious and contentious films: beginning with a keynote paper from Gil Hochberg, Professor of Comparative Literature at UCLA, there will then follow a Q&A with the artist and a panel discussion with Joanna Mytkowska, Director of the Museum of Modern Art in Warsaw, and Jacqueline Rose, Professor at Queen Mary University.

22 May – 1 July 2012
Hornsey Town Hall
Crouch End, London

This event has been organised with the support of the Polish Cultural Institute. Tickets are available from the Whitechapel Box Office.

For those who are interested in the full version of the interview with Yael Bartana for Louisiana Museum we attach the link:

http://www.youtube.com/watch?v=xjUToEWrFLI

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101 Diasporas: Artists of Chinese Descent in Britain

101 Diasporas is the title of a project, incorporating an imminent publication and an online gallery and database, which has been undertaken by Sajid Rizvi with financial assistance from Arts Council England. The project is conceived

, designed, authored and curated by Sajid Rizvi, Publisher and Founding Editor of Eastern Art Report and Eastern Art Report Online.

101 Diasporas explores, examines and highlights the work of several generations of the artists of Chinese descent who are or have been resident in the United Kingdom. The project supplements the pioneering work already undertaken by EAR in the field.

Not only has each artist an almost unique story to tell of his/her artistic career–as no doubt can be expected–but also that each has a singular sense of belonging or not belonging, or what it means to be in diaspora.

Most remarkably, artists who have been born and brought up in Britain also feel that they are in a state of diaspora. Why? The purpose of the project is to bring together their stories, to publish them and to bring to global attention the work of these practitioners of art.

Are you a 101 Diasporas artist?

If you are a practicing artist based in Britain or have spent significant amounts of time in Britain and would like your work to be included in the project, please send an e-mail to Sajid Rizvi, or write to him at:
For more information write to:
Eastern Art Report Online
EAPGROUP International Media
P O Box 13666
London SW14 8WF
United Kingdom

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Invisible borders – German art project

Utilising models, plans, texts, photographs and a short film the exhibition “Residenzpflicht — Invisible Borders” documents the resulting geography of multiple inclusion and exclusion, its impact on the perception of space, but also strategies of res

istance.

Theme:

Refugees, while they are either in the asylum process or live in Germany with a so-called ‘Duldung’, are facing invisible borders in their everyday life. For example they are only allowed to move within a certain area due to the ‘Residenzpflicht’ (‘duty of residence’). At the same time they are forced to live in refugee homes or camps, that are often at the edge or outside of regular settlement areas.
Voucher systems instead of cash benefits, but also police controls in train stations and trains targeting people who look ‘foreign’, stigmatise refugees and intensify their social isolation.

From 14 March until 5 April 2012 the exhibition will be shown at the city hall in Erlangen.

Schwerin (14 May until 1 June 2012)
Koblenz (12 July until 3 August 2012)
www.invisibleborders.de

 

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International Migration Art Festival IMAF

The International Migration Art Festival (IMAFestival) is presented by EatArt.
EatArt is a nonprofit organization legally registered in Italy. EatArt aims at helping and promoting artist

ic talent in different cultural venues and art categories, such as, cinema, literature, music and visual art by giving national and internationals exposure.

According to Eat Art aims, Rossella Canevari, Elena Maria Manzini and René Manenti conceived IMAF to discover new talents while focusing the spotlight on the relevant issue of migration, especially on its cultural and social dimensions.
Migration is a worldwide phenomenon. Virtually, all nations are involved as receiving, sending or transit countries. According to the U.N. Population Division 2009 report, “the world is expected to have 214 million international migrants in 2010, 19 million more than in 2005. Sixty percent of the world’s international migrants reside in more developed regions. Most of the world’s migrants live in Europe (70 million in 2010), followed by Asia (61 million) and North America (50 million). With 43 million migrants expected in 2010,the United States of America hosts the larger number of international migrants…”
Aware of the many problems and tensions that migrants are often associated with, the IMAFestival aims at highlighting the rich and positive complexity of such a phenomenon through the eyes and sensibilities of the artists. At the same time, artists will have an opportunity to show their talent to a large audience and hopefully influence, in a favorable way, the frequently bleak perception of “strangers”.
In order to reach his goals IMAFestival promotes every year the international contest “Art Your Food” on the theme “FOOD AND MIGRATION”. The finalists and winners such contest will be awarded by competent jurors with concrete opportunities to show their work in important venues and meet influential people in the art world. The website and the events organized in different cities are becoming the marketplace where artists, experts, aficionados and the public mingle to exchange and share views and experiences on art, food and the proposed theme.

ART COMPETITION OF FILM, MUSIC, LITERATURE AND VISUAL ART

THE CONTEST “ART YOUR FOOD” – Milan, New York and London

“Art Your Food”, the second edition of the International Migration Art Festival (IMAFestival), invites participating artists to submit works on the theme of “Food and Migration” in four art categories: Film, Literature, Visual Arts and Music.

www.imafestival.com

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Living on a Border project

Living on a Border is an international research and art project that deals with the migration issue in Europe – especially in the EU – and tries

to demystify the migration phenomenon and clarify the situation in light of the fact that in public discourse migrations are usually understood as negative, threatening, or conflictual. In dissemination part of the project we use artistic, performative approach followed by multimedia installation Permanent Waiting Room to present results of the research process to wide public in all partner countries: Italy, Slovenia, Austria and the UK. Such demystification and clarification is especially important if we keep in mind that in the last decade migration processes have been increasing throughout all of Europe (primarily in the EU) and the USA (that is, in the entire so called “developed and prosperous, democratic and civilised western world”); these processes are simultaneously a product of and a threat to their governments.

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The migrating Art Academies MigAA

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MigAA volume, titled Migrating:Art:Academies:

The Migrating Art Academies (MigAA) project is an ongoing aggregate network of participating art academies, people and events. A radical departure from the traditional learning process within bricks-and-mortar, MigAA released a cadre of graduate art students for a series of mobile and located explorations that, literally, spanned Europe, from the Baltic beaches of Lithuania to the Gironde Estuary in France, the Tatras mountains of Slovakia and elsewhere. With public manifestations in Linz, Austria at the prestigious Ars Electronica festival, in Berlin at the Collegium Hungaricum, in Royan, France and numerous other places on the way, the students piloted their Media RVs (recreational vehicles) along the highways and byways of Europe.

The basic idea behind the project is to challenge the traditional and habitual artistic routines of the students in order to inspire their continued creative development. The Migrating Art Academies project is an attempt to juxtapose the digital, non-haptic, anonymous, collective, and virtual on one hand with the unique, corporeal, and individual on the other. The project concentrates on social and interpersonal communication and encounters between differing cultural habits. “The breach between locations are the breaches between the individuals’, as the Maître à penser of this project, Vilém Flusser, once stated in his writings on migration and nomadism.

http://www.migaa.eu/

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Tate Britain Migrations expo

The expo poster
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Tate Explores Role Of Migrations In British Art

Tate Britain’s Migrations brings together an engaging collection of works from over a period of 500 years.

From the sixteenth and seventeenth century Flemish and Dutch landscape and still-life painters who came to Britain in search of new patrons, through moments of political and religious unrest, to Britain’s current position within the global landscape, the exhibition will reveal how British art has been fundamentally shaped by successive waves of migration.

31 January – 12 August 2012

http://www.tate.org.uk/whats-on/tate-britain/exhibition/migrations

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