Since the arrival of top range curator Régine Cuzin, L'Artocarpe members have seen many changes within its organization. Many artists who were not prepared to adjust their practice to a professional pace decided to leave the group. Others, who were not happy of the uneven type of practices displayed in the galleries, welcomed the initiative and took up their membership!
We cannot satisfy everyone: one may say. However, there is no doubt that along with professionalism comes more interesting opportunities.

And L'Artocarpe may be just at the beginning of such revolutionary process. One may ask however: to which extend do artist members want to go global? It is all too well to reach the shores of Miami, Big Apple and the like, but what are the values behind the art scenes of such places? Does L'Artocarpe is to become a money focused artist organization, as many others have been forced to do, in order to survive? Are art practices to be compromised in the process of opening up to the global scene?

All those questions will become the interest of internal debates for all members who are no doubt really eager to make it to the art scene while being also in fear of the strings attached.

While it becomes very exciting to witness the dynamics of all members in relation to their own development, it may also be a need to pause and reflect onto where precisely the frenetic succession of art events may lead us to, as an organization, primarily, as this is what L'Artocarpe is about, but as isolated artists too.

In setting up, and taking part in, many international conferences over the last three years (Jamaica, Birmingham, Martinique, Cuba, New Orleans...), it has been possible to draw a list of key points that may need to be addressed urgently, should we need to remain as an entity.
 

Indeed, the creation of art work cannot go solo: a need for theoretical support is also to be fully included within L'Artocarpe's team. So far visiting academics and local art critic members have given us some rhetorical food, however, it seems, not enough to fully project ourselves once in the arena of the "Whole World" as Glissant would put it.

Meeting up with our network, i.e. those creative people and academics from the Diaspora living abroad, enables some interesting discussions and exchanges. However, one remains frustrated to not see such richness been regularly put together over an annual event which could therefore offer food for thoughts to all. There are indeed, little venues whereby academics AND artists really meet. It is either... or...not "and"! 

Contemporary art has however received huge criticism in the Western world. For various reasons, which are not in need to be recalled here, but in particular for becoming a space where freedom has compromised with a rather cynical picture of the politics and economics taking over creativity.

The Caribbean scene was so far exempt of such label: however, it seems that a U turn is about to take place...

Is that what artists from the French Caribbean want?

A question to be put to all of us...

Joëlle Ferly - L'Artocarpe's founder