The Foundation for Arts Initiatives gives grants to individuals for travel and research and to institutions for general activities and projects.
Below are some of the individuals and institutions that we are currently supporting.
CASA DO POVO is an autonomous space in São Paulo that acts as a place of memory and a cultural center in harmony with contemporary art and thought. Parallel to its regular process-oriented programming and socially-engaged activities, CASA DO POVO has developed a platform to discuss critical management with social movements and arts initiatives, from Beta-Local to Movimento dos Trabalhadores Rurais Sem Terra. It also continues to be home to neighborhood associations, art collectives, and other groups fostering micropolitical resistance and the rise of a common space.
CHIMURENGA is a pan-African platform of writing, art, and politics founded in 2002 in Cape Town. Its activities include a quarterly broadsheet titled The Chronic; an ongoing invention into knowledge production that seeks to re-imagine libraries, the Chimurenga Library; a biennial publication of urban life, the African Cities Reader; and an online radio station and pop-up studio, the Pan African Space Station (PASS). Operating through different media, Chimurenga aims to start conversations about African culture and has addressed such topics as the rewriting of the continent’s history.
DEPO, founded in 2008, is a space for culture, arts and critical debate located in a former warehouse in Istanbul. It focuses on art practices that deal with social issues by collaborating with artists, artist collectives, and civic and cultural organizations from Turkey, neighboring countries and Europe. Programs include exhibitions, screenings, and discussions related to human rights, politics of memory, cultural diversity, art, and activism. DEPO has been publishing the online journal Red Thread since 2009.
INDONESIAN VISUAL ART ARCHIVE (IVAA), founded in 1995 as the Cemeti Art Foundation, is a non-profit library and archive for visual art studies and research in Yogyakarta. IVAA documents, collects and preserves modern and contemporary art archives of Indonesia from pre-independence to the present, making them publicly accessible through its online archive and at its physical space. Since 2016, IVAA has been focusing on the expansion and redefinition of art as a subject by cataloging citizen art practices that deal with the conflict over land development in Yogyakarta.
KATARZYNA KOZYRA FOUNDATION was founded by installation, performance and video artist Katarzyna Kozyra in 2012 in Warsaw with the goal of supporting female artists and women working in culture in Central and Eastern Europe (CEE). Since its creation, the Katarzyna Kozyra Foundation has been fighting against invisible barriers and questioning social norms that legitimize the low representation of women in art. It has organized a number of projects, exhibitions and festivals, with Secondary Archive, a digital archive of female artists from the CEE region, being its flagship initiative.
KUDA.ORG in Novi Sad was founded in 2001 to bring together artists, theoreticians, media activists, researchers, and the wider public to encourage acts of critique and resistance to the commodification of art production. It fosters open dialogue, experimental education, collaboration and research, and public access to different knowledge resources. With a wide network of cultural institutions and individuals, locally, in Serbia, in the region, and internationally, kuda.org co-established Youth Center CK13, an autonomous space dedicated to activism, self-organization and independent cultural production. It is also closely collaborating with the Group for Conceptual Politics – GKP on theoretical research projects, publishing, and the politics of housing.
MAPA TEATRO is an artists’ laboratory dedicated to transdisciplinary creation. Based in Bogotá since 1986, it was founded in Paris in 1984 by Heidi and Rolf Abderhalden, visual and performance artists from Colombia. MAPA has developed its own cartography in the field of “Live Arts” that transgresses boundaries –geographic, linguistic, artistic– and addresses local and global issues through diverse “thought-montage” operations combining documentation, archives and fiction. As a laboratory where myth, history and the present continuously intersect, Mapa Teatro emphasizes the production of poetic-political events through the construction of ethno-fictions and the creation of experimental communities.
ANABELLA ACEVEDO is an independent academic working in Quetzaltenango since 2005. ROSINA CAZALI is an art critic and independent curator from Guatemala City. Cazali and Avecedo established Proyecto Laica, a transdisciplinary project focusing on open debate in nontraditional settings and media, editorial production in various formats, and academic research. It is dedicated to critical analysis, documentation, reflection and dissemination of contemporary art in Guatemala, and to strengthening networks of scholars interested in Guatemalan artistic production.
DRAGAN PROTIĆ co-founded the ŠKART arts collective with his fellow student at the Faculty of Architecture of the University of Belgrade, Đorđe Balmazović, in 1990, just as Yugoslavia was descending into civil war. Since then ŠKART, which means “scrap,” “despised,” or “leftover,” has primarily focused on reaching out to the vulnerable and marginalized, uniting disparate communities, and building collectivity using minimal resources, self-produced projects and performances, and street actions. ŠKART’s goal is to form an open, unframed form of collaboration that overcomes narrow individual interests and the divisions of nationality and ethnicity.
RIKSA AFIATY is a curator based in Indonesia. She was a member of the collective ruangrupa Jakarta from 2011-2016, and was part of the Curators Lab of the Jakarta Biennale 2015, Neither Forward nor Back: Acting in the Present. In 2017 Afiaty worked with Charles Esche and Enin Supriyanto on the exhibition Power and Other Things: Indonesia & Art (1835-NOW) at Bozar‚ Palais des beaux arts in Brussels for the Europalia Art Festival. Between 2018-2019 she was a resident in the Jan van Eyck Academie in Maastricht. Her ongoing practice focuses on using a decolonial aestheSis model to counter Euro-centric views in redefining art by addressing power structures.
ROSE JEPKORIR KIPTUM is a curator working with artists and others from Nairobi. She has developed and participated in a range of collaborative projects and events, including Burden of Memory: Considering German Colonial History in Africa (2019), an ambitious program of theatre, music, poetry, visual arts, performance, films and literature by more than 100 artists presented in Yaounde. Other recent projects organized as part of the artist/curatorial collective Naijographia include From Here to When (2019), an exhibition and program of artists’ talks, performances and performative readings, and Wanakuboeka Feelharmonic (2018), an interactive exhibition based on music-making as a way of thinking about communal endeavor.