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Caribbean Linked is a regional artist residency and exhibition program based at Ateliers ’89 in Oranjestad, Aruba. It is organized by the Ateliers ’89 Foundation in collaboration with ARC Inc. and The Fresh Milk Art Platform Inc. Its goal is to connect the Caribbean’s dispersed creative communities, especially young and emerging artists from English-, French-, Spanish-, and Dutch Antillean backgrounds.
From an educational or curriculum perspective, it is not a standard course in the traditional sense, but rather a combined program of “residency + exhibition + critical education + industry networking.” The text emphasizes sustainability, regional integration, and critical education for young artists. Participants can create work during the residency, exchange ideas, and enter broader conversations around contemporary art. The project also seeks to use art to bridge linguistic, geographic, and cultural boundaries, promoting long-term connections within the Caribbean cultural ecosystem.
The core team includes Elvis Lopez of Ateliers ’89, Holly Bynoe of ARC Magazine, and Annalee Davis and Katherine Kennedy of Fresh Milk. The selection process relies on collaboration with contemporary art spaces and art initiatives across the Caribbean islands, using these local networks to identify and nominate promising emerging artists. This mechanism helps reach creators from peripheral islands or those less represented in mainstream Caribbean art narratives.
The collected text does not disclose program fees, whether accommodation and meals are provided, or whether travel funding or scholarships are available. It also does not explain an open application process. The text indicates that the 2022 edition received funding from multiple foundations and institutions, but this cannot be used to determine whether participation was free for artists. In terms of participation, the materials place more emphasis on being “identified, nominated, and invited,” so transparency is limited for general applicants.
Its strengths lie in its distinctive positioning, with a focus on the Caribbean regional art ecosystem and cross-cultural connection. The partner organizations have strong art-industry backgrounds, and the program offers not only opportunities for artistic creation but also relationship-building and public discussion. Its limitations include insufficient information about curriculum structure, mentor arrangements, learning outcomes, certification, and pricing. If users are looking for a clear syllabus, an open-enrollment course, or professional certification, this project is not a good match.
It is suitable for young artists, writers, critics, and creative practitioners in the Caribbean, especially those hoping to build regional networks and participate in contemporary art dialogue. For users in China, its practical relevance is relatively narrow unless they are researching Caribbean contemporary art or looking for examples of international residency programs. The source text does not provide information on website accessibility, so access status is unknown.
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