AFIELD

⏳ LAST CALL: 3 DAYS LEFT TO APPLY!⁠ ⁠ If you are an artist or cultural practitioner addressing legacies of injustice, this is your final reminder to submit your application for the 𝘛𝘳𝘢𝘯𝘴𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘑𝘶𝘴𝘵𝘪𝘤𝘦 𝘸𝘪𝘵𝘩 𝘈𝘳𝘵𝘪𝘴𝘵𝘴 (𝘛𝘑𝘈) 𝘎𝘳𝘢𝘯𝘵.⁠ ⁠ We’re offering 6 practitioners: ⁠ ~ A 6-month fellowship⁠ ~ A €10,000 grant ⁠ ~ To join AFIELD’s international network of 140+ cultural changemakers⁠ ~ A 7-day residency at @framerframed in Amsterdam ⁠ ~ A published feature in @arts_of_the_working_class ⁠ ⁠ Deadline: 02 May 2026 (23:59 CET)⁠ 🔗 Full guidelines & link to apply in bio. ⁠ ⁠ ~~~~~~~~⁠ ⁠ 𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘢 𝘫𝘰𝘪𝘯𝘵 𝘱𝘳𝘰𝘨𝘳𝘢𝘮 𝘣𝘺 𝘈𝘍𝘐𝘌𝘓𝘋, 𝘈𝘳𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘞𝘰𝘳𝘬𝘪𝘯𝘨 𝘊𝘭𝘢𝘴𝘴, 𝘢𝘯𝘥 𝘍𝘳𝘢𝘮𝘦𝘳 𝘍𝘳𝘢𝘮𝘦𝘥. 𝘐𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯.

With just one week until applications close, we are honored & delighted to introduce the jury for the 𝘛𝘳𝘢𝘯𝘴𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘑𝘶𝘴𝘵𝘪𝘤𝘦 𝘸𝘪𝘵𝘩 𝘈𝘳𝘵𝘪𝘴𝘵𝘴 (𝘛𝘑𝘈) 𝘎𝘳𝘢𝘯𝘵! ⁠ ⁠ Guiding the selection of our 6 Fellows for the 2026 & 2027 cohorts is an independent panel of experts who bring together legal, historical & curatorial perspectives:⁠ ⁠ ~ 𝙁𝙞𝙖𝙣𝙖 𝙂𝙖𝙣𝙩𝙝𝙚𝙧𝙚𝙩, Legal Expert in International Human Rights Law & Transitional Justice (The Hague, NL)⁠ ~ 𝙅𝙤𝙨𝙚𝙥𝙝 𝘽𝙚𝙣 𝙆𝙖𝙞𝙛𝙖𝙡𝙖, Writer, Historian & Founder of the Center for Memory & Reparations (Lungi, SL)⁠ ~ 𝙇𝙤𝙪𝙣𝙖 𝙎𝙗𝙤𝙪, Curator, Mentor & Director of @oyounberlin (Berlin, DE)⁠ ⁠ Joining them are 4 representatives from our program partners:⁠ ~ 𝘼𝙢𝙚𝙡𝙞𝙚 𝙅𝙖𝙠𝙪𝙗𝙚𝙠, Project-based Research & Coordination Lead, @arts_of_the_working_class (Berlin, DE)⁠ ~ 𝙇𝙮𝙙𝙞𝙖 𝙈𝙖𝙧𝙠𝙖𝙠𝙞, Public Programme Coordinator, @framerframed (Amsterdam, NL)⁠ ~ 𝘾𝙝𝙖𝙣𝙩𝙖𝙡 𝙒𝙤𝙣𝙜, Director, @afieldfellowship (Paris, FR)⁠ ~ 𝙎𝙖𝙣𝙙𝙧𝙖 𝙏𝙚𝙧𝙙𝙟𝙢𝙖𝙣, Founding Member, @afieldfellowship (Paris, FR)⁠ ⁠ ~~~~~~~~⁠ ⁠ ⚖️ If you are an artist and/or creative practitioner addressing legacies of injustice, APPLICATIONS ARE OPEN for the 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵!⁠ ⁠ AFIELD, Arts of the Working Class & Framer Framed are awarding to 6 practitioners: a grant of €10,000 & a 6-month fellowship, including a published feature & Amsterdam residency.⁠ ⁠ Deadline: 02 May 2026⁠ 🔗 Full guidelines & link to apply in bio. ⁠ ⁠ 𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯.

In line with the 𝑇𝑟𝑎𝑛𝑠𝑖𝑡𝑖𝑜𝑛𝑎𝑙 𝐽𝑢𝑠𝑡𝑖𝑐𝑒 𝑤𝑖𝑡ℎ 𝐴𝑟𝑡𝑖𝑠𝑡𝑠 (TJA) programme, we’re highlighting examples of artistic practice addressing legacies of injustice. The 2021 exhibition 𝐹𝑟𝑜𝑚 𝑊ℎ𝑎𝑡 𝑊𝑖𝑙𝑙 𝑊𝑒 𝑅𝑒𝑎𝑠𝑠𝑒𝑚𝑏𝑙𝑒 𝑂𝑢𝑟𝑠𝑒𝑙𝑣𝑒𝑠 addressed the 1995 genocide that took place in Srebrenica, reflecting on the question posed by Croatian-Bosnian author Jozefina Dautbegović: from which fragments – images, stories, archives and historical remnants – do you piece a life together in the wake of genocide? The project, initiated by Anna Dasović and developed with Framer Framed, used artistic practice to confront the legacy of Srebrenica and the broader responsibility of Europe – especially the Netherlands – in shaping how this history is remembered. By working with military archives and exposing the structures behind representation, it questioned whose perspective is legitimised and how institutional narratives are constructed. With the TJA grant and fellowship, Framer Framed, together with AFIELD and Arts of the Working Class, supports practitioners addressing legacies of injustice and violence, awarding 6 grants of €10,000 & a six-month fellowship, including a published feature & Amsterdam residency. ▪️If you are an artist and/or creative practitioner addressing legacies of injustice, learn more about the programme and find the open call via the link in bio. Deadline: 𝟐 𝐌𝐚𝐲 𝟐𝟎𝟐𝟔 ▬▬▬ The TJA Grant is co-funded by the European Union. @afieldfellowship @arts_of_the_working_class @anna_dasovic 📸 Anna Dasović, 'Before the fall, there was no fall. Episode 01: Raw material' (2019) Photo: © Eva Broekema

The 𝐶𝑜𝑢𝑟𝑡 𝑓𝑜𝑟 𝐼𝑛𝑡𝑒𝑟𝑔𝑒𝑛𝑒𝑟𝑎𝑡𝑖𝑜𝑛𝑎𝑙 𝐶𝑙𝑖𝑚𝑎𝑡𝑒 𝐶𝑟𝑖𝑚𝑒𝑠 (CICC) by Radha D’Souza and Jonas Staal insists on understanding the climate crisis as an ongoing historical injustice requiring accountability. As part of our 𝑇𝑟𝑎𝑛𝑠𝑖𝑡𝑖𝑜𝑛𝑎𝑙 𝐽𝑢𝑠𝑡𝑖𝑐𝑒 𝑤𝑖𝑡ℎ 𝐴𝑟𝑡𝑖𝑠𝑡𝑠 (TJA) programme, in collaboration with AFIELD and Arts of the Working Class, we’re highlighting the CICC as an example of how artistic practices can function as experimental models for justice. Through a self-defined legal framework, the CICC puts states and corporations on trial, while expanding ideas of reparations toward ecological restoration and intergenerational responsibility. Commissioned by Framer Framed, the first iteration of the CICC staged four hearings in Amsterdam in 2021. Acting as a more-than-human tribunal, it includes not only human participants but also extinct species and fossils as witnesses – foregrounding environmental loss as something to be documented, remembered and publicly confronted. In doing so, the CICC resonates strongly with transitional justice processes: it centres truth-telling, collective memory and accountability, especially where existing legal systems fall short. It demonstrates how artists can actively shape new juridical imaginaries and practices. With the TJA grant and fellowship, Framer Framed, together with AFIELD and Arts of the Working Class, supports practitioners addressing legacies of injustice and violence, awarding 6 grants of €10,000 & a six-month fellowship, including a published feature & Amsterdam residency. ▪️If you are an artist and/or creative practitioner addressing legacies of injustice, learn more about the programme and find the open call via the link in bio. Deadline: 𝟐 𝐌𝐚𝐲 𝟐𝟎𝟐𝟔 ▬▬▬ The TJA Grant is co-funded by the European Union. @afieldfellowship @arts_of_the_working_class @jonas_staal @dsouzaradha 📸 Public hearing during 𝐶𝑜𝑢𝑟𝑡 𝑓𝑜𝑟 𝐼𝑛𝑡𝑒𝑟𝑔𝑒𝑛𝑒𝑟𝑎𝑡𝑖𝑜𝑛𝑎𝑙 𝐶𝑙𝑖𝑚𝑎𝑡𝑒 𝐶𝑟𝑖𝑚𝑒𝑠 (2021-2022) at Framer Framed. Foto: © Ruben Hamelink

A huge congratulations to Zanele Muholi (@muholizanele ), the 2026 Hasselblad Award Laureate! 📷 ⁠ ⁠ Considered one of the most prestigious honors in photography, this award recognizes Muholi's "visual activism" and life’s work documenting the Black LGBTQIA+ community. Following the announcement, they shared this reflection this via @hasselbladfoundation : "𝘛𝘩𝘪𝘴 𝘳𝘦𝘤𝘰𝘨𝘯𝘪𝘵𝘪𝘰𝘯 𝘢𝘧𝘧𝘪𝘳𝘮𝘴 𝘵𝘩𝘢𝘵 𝘰𝘶𝘳 𝘭𝘪𝘷𝘦𝘴 𝘢𝘳𝘦 𝘸𝘰𝘳𝘵𝘩𝘺 𝘰𝘧 𝘣𝘦𝘪𝘯𝘨 𝘴𝘦𝘦𝘯—𝘯𝘰𝘵 𝘢𝘴 𝘴𝘵𝘢𝘵𝘪𝘴𝘵𝘪𝘤𝘴, 𝘯𝘰𝘵 𝘢𝘴 𝘴𝘩𝘢𝘥𝘰𝘸𝘴, 𝘣𝘶𝘵 𝘢𝘴 𝘧𝘶𝘭𝘭 𝘩𝘶𝘮𝘢𝘯 𝘣𝘦𝘪𝘯𝘨𝘴." ⁠ ⁠ Muholi was one of AFIELD’s very first fellows, nominated in 2014 for the 𝘈𝘶𝘳𝘰𝘳𝘢 𝘎𝘪𝘳𝘭𝘴 𝘏𝘪𝘨𝘩 𝘚𝘤𝘩𝘰𝘰𝘭 𝘗𝘩𝘰𝘵𝘰 𝘎𝘳𝘰𝘶𝘱 in Soweto. This pilot project was a collaboration with facilitators Lindeka Qampi (photographer/activist), Linda Mankazana (educator/activist), and Valerie Thomas (physician/activist). Together, they empowered young women to navigate social issues and rewrite their own histories through the lens, working toward the goal of introducing photography courses to township schools across South Africa.⁠ ⁠ 🔗 Learn more about Muholi's 2014 initiative and their practice on ↗afield.org (link in bio)⁠ 🗓️ and keep an eye out for their solo exhibition opening at the Hasselblad Center in Gothenburg on 10 October 2026.⁠ ⁠ 📷 1. Zanele Muholi, 𝘉𝘰𝘯𝘢, 𝘊𝘩𝘢𝘳𝘭𝘰𝘵𝘵𝘦𝘴𝘷𝘪𝘭𝘭𝘦, 2015.⁠ 2. Zanele Muholi, 𝘕𝘵𝘰𝘻𝘢𝘬𝘩𝘦 𝘐𝘐, 𝘗𝘢𝘳𝘬𝘵𝘰𝘸𝘯, 2016. From the series 𝘚𝘰𝘮𝘯𝘺𝘢𝘮𝘢 𝘕𝘨𝘰𝘯𝘺𝘢𝘮𝘢.⁠ 3. Zanele Muholi, 𝘠𝘢𝘺𝘢 𝘔𝘢𝘷𝘶𝘯𝘥𝘭𝘢 𝘐, 𝘗𝘢𝘳𝘬𝘵𝘰𝘸𝘯, 2017. From the series 𝘉𝘳𝘢𝘷𝘦 𝘉𝘦𝘢𝘶𝘵𝘪𝘦𝘴.⁠ 4. Zanele Muholi. All images via Hasselblad Foundation

What does justice look like when the justice system fails?  Transitional Justice is the legal framework societies use to confront legacies of severe human rights violations. Traditionally, this process is built on four foundational pillars: ~ The right to know ~ The right to justice ~ The right to reparation ~ The right to non-repetition Today, this global discourse is expanding, as communities take on the role of active witnesses, documenting harms as they are being enacted and refusing to let the record be erased. This is what is called the "justice imagination”—the collective capacity to influence the courtroom or institutional framework and envision more ambitious, community-led forms of repair and accountability. ~~~~~~~~ ⚖️  If you are an artist and/or creative practitioner addressing legacies of injustice, APPLICATIONS ARE OPEN for the 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵! AFIELD, Arts of the Working Class, and Framer Framed are awarding 6 grants of €10,000 & a 6-month fellowship, including a published feature & Amsterdam residency. Deadline: 02 May 2026 🔗 Full guidelines & link to apply in bio. 𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯. ‌ 📷 Slide 1. Alejandra Ballón Gutiérrez, Mujeres de Anta. Photo: Liz Tasa. Slide 4. François Makanga at 2025 AFIELD Forum: Transitional Justice by Artists. Slide 7. Selvagem & Lia Rodrigues at 2025 AFIELD Forum Slide 9. 2025 AFIELD Forum. All Forum photos: Veerle Vercauteren for Fondation Kanal

How do artists engage with Transitional Justice? As part of the 𝘛𝘳𝘢𝘯𝘴𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘑𝘶𝘴𝘵𝘪𝘤𝘦 𝘸𝘪𝘵𝘩 𝘈𝘳𝘵𝘪𝘴𝘵𝘴 (𝘛𝘑𝘈) 𝘎𝘳𝘢𝘯𝘵, we’re sharing our first case study, looking at truth-telling, and how documenting human rights violations and environmental crimes creates the historical evidence base necessary for lasting accountability. Through the observational documentary 𝘋𝘪𝘷𝘪𝘢, filmmaker Dmytro Hreshko (@jetpeks ) traces the catastrophic impact of the Russian invasion on Ukraine’s environment. By systematically recording this ecological toll, Dmytro uncovers hidden truths and ensures nature’s destruction doesn’t remain a silent consequence of the conflict. Similarly, the Ukraine War Archive (UWA @‌ukrainewararchive ) has verified over 263 terabytes of data since March 2022, transforming raw records into a searchable database for future use in courts, journalism, and art. This archive has resourced projects like Sasha Pletenetska and Anna Mikheienko’s (𝘙𝘦)𝘊𝘰𝘷𝘦𝘳𝘦𝘥 𝘔𝘦𝘮𝘰𝘳𝘺, a film documenting the fight to save a historic Kyiv building and preserve collective identity against erasure. ⚖️  If you are an artist and/or creative practitioner addressing legacies of injustice, APPLICATIONS ARE OPEN for the 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵! AFIELD, Arts of the Working Class and Framer Framed are awarding 6 grants of €10,000 & a 6-month fellowship, including a published feature & Amsterdam residency. Deadline: 02 May 2026. Limited to the first 500 applications. 🔗 Full guidelines & link to apply in bio. 𝘛𝘩𝘦 𝘛𝘑𝘈 𝘎𝘳𝘢𝘯𝘵 𝘪𝘴 𝘤𝘰-𝘧𝘶𝘯𝘥𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘌𝘶𝘳𝘰𝘱𝘦𝘢𝘯 𝘜𝘯𝘪𝘰𝘯. Image captions in comments

"For visitors like me, as tangata tīriti, (English-origin settler, living here by the mandate of Te Tīriti o Waitangi), there is huge relief in honest films about enslavement, Indigenous land practices, or the revival of seed sovereignty. By looking directly at grim histories together, we can posit new futures."⁠ – Sophie Jerram, curator, artist, and AFIELD Peer on Libby Hakaraia & Māoriland ⁠ ⁠ Every March, Māoriland Film Festival (@maorilandfilm ) achieves the profound transformation of the entire town of Ōtaki, in Aotearoa New Zealand, by being dedicated to the kaupapa (intention) of Indigenous storytelling. Ōtaki is a town of 4,000 people, 90 minutes north of the settler-colonial capital, Wellington. ⁠ ⁠ Māoriland is a global film festival, founded by filmmaker Libby Hakaraia, showing stories from all over the world for five days. It provides international residencies, scholarships and youth training, and now has a permanent hub and shop, championing the festival and local crafts. ⁠ ⁠ In our latest #AFIELDinspiration: the unwritten histories of artist-led initiatives, Sophie Jerram reflects on Māoriland’s leadership and the relief found in collective, honest storytelling as a tool for social repair.⁠ ⁠ Māoriland Film Festival runs from 23–26 March 2026.⁠ 📲 Read the full article on ↗afield.org (link in bio)⁠ ⁠ Sophie Jerram (@jerramscr ) is a curator, artist, and AFIELD Peer based in Te Whanganui-a-Tara Wellington. She is the co-founder of Letting Space (@lettingspace ), Urban Dream Brokerage and Now Future, and currently leads Critical Signals (@criticalsignals.nz ), a community-centered initiative addressing climate and social crises through collective knowledge.⁠ ⁠ Captions in comments

2025 AFIELD Fellow Conceição Evaristo (@conceicaoevaristooficial ) has reached a significant milestone in the Brazilian academic landscape: her novel, 𝘊𝘢𝘯çã𝘰 𝘱𝘢𝘳𝘢 𝘕𝘪𝘯𝘢𝘳 𝘔𝘦𝘯𝘪𝘯𝘰 𝘎𝘳𝘢𝘯𝘥𝘦 (Lullaby for a Big Boy), has been officially added to the mandatory reading list for the 2026 Fuvest exam, the entrance requirement for the University of São Paulo (USP).⁠ ⁠ The novel explores the complexities of Black masculinity and the contradictions of love through the life of Fio Jasmim, a railway worker whose emotional journey is unraveled through the memories of the women he left behind.⁠ ⁠ This practice of weaving collective memory into literature—what Conceição calls "escrevivência" (writing from lived experience)—is also the foundation of her AFIELD Fellowship project: 𝘊𝘢𝘴𝘢 𝘌𝘴𝘤𝘳𝘦𝘷𝘪𝘷ê𝘯𝘤𝘪𝘢. Located in Rio de Janeiro’s historic Pequena África, the Casa is dedicated to preserving the intellectual legacy of Black women and Afro-Brazilian memory; in just three years, it has hosted over 4,000 visitors and provided specialized workshops and courses to 250 students and educators.⁠ ⁠ Visit ↗afield.org to learn more about Conceição and 𝘊𝘢𝘴𝘢 𝘌𝘴𝘤𝘳𝘦𝘷𝘪𝘷ê𝘯𝘤𝘪𝘢. Link in bio.⁠ ⁠ 📷 1. Book cover for 𝘊𝘢𝘯çã𝘰 𝘱𝘢𝘳𝘢 𝘕𝘪𝘯𝘢𝘳 𝘔𝘦𝘯𝘪𝘯𝘰 𝘎𝘳𝘢𝘯𝘥𝘦 (Lullaby for a Big Boy) by Conceição Evaristo.⁠ 2. Conceição Evaristo. ©Monica Ramalho.

Applications for the Transitional Justice with Artists Grant are now open. ⁠ ⁠ AFIELD, Arts of the Working Class, and Framer Framed invite Europe-based artists, cultural practitioners, and collectives working with communities affected by human rights violations to apply for a €10,000 grant and 6-month fellowship.⁠ ⁠ We’re selecting 6 practitioners with initiatives that engage deeply with truth, memory, repair, and accountability to imagine justice beyond standard legal or institutional frameworks. ⁠ ⁠ Selected applicants will join AFIELD’s international network of socially-engaged artists, contribute to a dedicated issue of Arts of the Working Class, attend a 7-day residency at Framer Framed in Amsterdam, and participate in regular, online thematic meetings. ⁠ ⁠ ⁠ 🔗Full guidelines and eligibility: link in bio or visit afield.org/tja-2026-open-call⁠ ⁠ 🗓️Apply by: 02 May 2026 (23:59 CET): link in bio⁠ ⁠ 📷 Visual identity by @sarpsozdinler ⁠ ⁠ The TJA Grant is a joint program by AFIELD (@afieldfellowship ), Arts of the Working Class (@arts_of_the_working_class ), and Framer Framed (@framerframed ). ⁠ ⁠ Co-funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.⁠

Founded in Tāmaki Makaurau Auckland in 2013, FAFSWAG (@fafswag ) was nominated to the AFIELD Network for their multidisciplinary activism and commitment to visibility for the LGBTQIA+ Pacific community.⁠ ⁠ They continue to be a leading force in Indigenous queer sovereignty in the region and are currently featured in 𝘛𝘪𝘥𝘦𝘴: 𝘎𝘦𝘯𝘥𝘦𝘳 𝘉𝘦𝘺𝘰𝘯𝘥 𝘵𝘩𝘦 𝘉𝘪𝘯𝘢𝘳𝘺 𝘪𝘯 𝘖𝘤𝘦𝘢𝘯𝘪𝘢 at the East Hawai'i Cultural Center in Hilo. ⁠ ⁠ Running until 27 February 2026, 𝘛𝘪𝘥𝘦𝘴 is a major traveling exhibition that explores the fluid, evolving concepts of non-binary identity across Oceania—identities that were integral to the social and spiritual fabric of Pacific cultures long before colonization.⁠ ⁠ Read more about FAFSWAG on ↗afield.org 📷 1 – 3. 𝘛𝘪𝘥𝘦𝘴: 𝘎𝘦𝘯𝘥𝘦𝘳 𝘉𝘦𝘺𝘰𝘯𝘥 𝘵𝘩𝘦 𝘉𝘪𝘯𝘢𝘳𝘺 𝘪𝘯 𝘖𝘤𝘦𝘢𝘯𝘪𝘢 installation view. Via @easthawaiiculturalcenter ⁠ ⁠ #AFIELDNetwork #SocialArt #SociallyEngagedArt #Indigenous #PacificArtists

Caroline Woolard (@carolinewoolard ) joins AFIELD as Advisor ꩜⁠ ⁠ Based in Kingston, NY, Caroline makes impossible things happen. A leading voice in solidarity economics, she is the founder of multiple cooperatives including @_artcoop , TradeSchool.coop, and @pollinator_coop —dubbed "a virtual residency of mutual support," matching artists with a cohort of aligned peers.⁠ ⁠ As an artist, she has been commissioned by @themuseumofmodernart , @whitneymuseum , @brooklynmuseum , and has been featured twice on PBS’s @art21 . As a writer, she has co-authored landmark reports like 𝘚𝘰𝘭𝘪𝘥𝘢𝘳𝘪𝘵𝘺 𝘕𝘰𝘵 𝘊𝘩𝘢𝘳𝘪𝘵𝘺 and books including 𝘈𝘳𝘵, 𝘌𝘯𝘨𝘢𝘨𝘦𝘮𝘦𝘯𝘵, 𝘌𝘤𝘰𝘯𝘰𝘮𝘺. She has also co-developed 𝘔𝘢𝘬𝘪𝘯𝘨 𝘢𝘯𝘥 𝘉𝘦𝘪𝘯𝘨, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. ⁠ ⁠ Caroline has been orbiting AFIELD for a long time, and we are proud to finally have her officially join the Network, and to continue the lines of inquiry opened when we came together for AFIELD's Study program 𝘓𝘦𝘵'𝘴 𝘚𝘩𝘢𝘳𝘦! at documenta 15 in Kassel, Germany.⁠ ⁠ There she asked: "Why are you interested in a fundamental systems-change, and how can we work together to make this? To move from extraction and exploitation into real cooperation and solidarity?"⁠ ⁠ 📷 1. Caroline Woolard. Photo: Levi Mandel.⁠ 2. 𝘊𝘰𝘶𝘯𝘵𝘦𝘳𝘮𝘦𝘢𝘴𝘶𝘳𝘦𝘴: 𝘓𝘦𝘷𝘦𝘭, 2018, blown glass. ⁠ 3. 𝘈𝘳𝘵, 𝘌𝘯𝘨𝘢𝘨𝘦𝘮𝘦𝘯𝘵, 𝘌𝘤𝘰𝘯𝘰𝘮𝘺 book cover, 2020.⁠ 4. From the book 𝘔𝘢𝘬𝘪𝘯𝘨 𝘢𝘯𝘥 𝘉𝘦𝘪𝘯𝘨, 2019.⁠ 5. Pollinator's launch, 2025. Photo: Levi Mandel, via thecooperunion ⁠ #AFIELDNetwork #SocialArt #SociallyEngagedArt #Collective #MutualSupport⁠