Brooks International Fellowship Programme with Tate
An annual fellowship programme in collaboration with Tate
The Brooks International Fellowship Programme enables three curators, researchers or art historians each year to develop their research around a specific theme at Tate over a twelve-week period, complemented by activities at Delfina Foundation.
The Brooks International Fellowship Programme at Tate and Delfina Foundation is an annual research residency generously supported by Elizabeth and Rory Brooks.
Fellows are part of a team at Tate, working alongside a peer at the gallery on a day-to-day basis and taking part in wider activities and discussions at Tate with special access to the collection, archive, staff and networks. Likewise, fellows will participate in and help form public programming at Delfina Foundation. They engage in internal events, public talks, screenings and panel discussions that relate their research at Tate to a wider, global context and to other thematic activities at Delfina Foundation.
The Brooks International Fellowship Programme invited applications from South Asia. Two curators and one artist from India was selected:
Kamini Sawhney works at Jehangir Nicholson Gallery mounting exhibitions around various aspects of Indian Modernism from abstraction to performance as well as an investigation of women artists within the collection. She was on placement at Tate Modern.
Aastha Chauhan is an artist, who worked with Tate Learning. She developed Khoj’s community programme and continues her socially engagement via her own practice.
Ayesha Matthan is an art historian interested in issues of gender and artistic production in colonial India. She was on placement at Tate Britain.
Susana Vargas Cervantes (Mexico), worked within the photography team of Tate Modern’s curatorial department on a new acquisition of Martin Parr’s photobooks. Susana also hosted a workshop at Delfina Foundation which explored notions of queer curatorial practice.
Marina Valle Noronha (Brazil) worked as a researcher across Tate Liverpool and Tate St Ives, reviewing and advising on deaccessioning. Marina produced a public event at Delfina Foundation which experimented with notions of the exhibition and visual experience through a hallucination session.
Working in Tate Britain, Allison Thompson (Barbados) provided expertise and research towards the work of West Indian diaspora artists in the UK during the mid twentieth century. Allison convened a panel discussion with artists Sonia Boyce, Harold Offeh and Sheena Rose on the topic of self-representation.
Anne Ruygt (The Netherlands) worked with the photography team within the Tate Modern curatorial department to conduct an analysis of the way the photography collection has changed and grown since the new strategy began to be implemented in 2009.
Giulia Lamoni (Portugal/Italy) was hosted by the Tate Modern Curatorial Department in order to contribute to Tate's international strategies for the research, acquisition and presentation of art from the 20th and 21st centuries.
Rabbya Naseer (Pakistan) was be hosted by the Tate Research Centre: Asia in order to focus on a research project on live and performance art practices in South Asia (Bangladesh, India, Pakistan or Sri Lanka) and their development historically to the present day.
Nadine Siegert (Germany) is a researcher, curator and publisher with an academic background in African Art studies. She is Deputy Director of Iwalewahaus at the University of Bayreuth and Research Associate at the Department of Fine Art, Rhodes University.
Katia Sowels (France) is a PhD candidate in Art History at the École Normale Supérieure in Paris. Specialised in Surrealism, her research focuses on the history of “surrealist objects”, found or constructed by artists and poets, from diverted everyday objects, natural wonders, folk and primitive art.
Chanon Kenji Praepipatmongkol (Thailand) is an art historian based in Southeast Asia. His work positions questions of comparison and scale as crucial for thinking a radically decentered history of contemporary art.