Apply for a Fully Funded Curatorial Fellowship: Art Exchange Moving Image Programme 2026 for Sub‑Saharan Africa Curators

If you curate time-based work — video, film, projection, immersive time-based installations — and you live in Sub‑Saharan Africa, this is one of those rare opportunities that actually gives you room to breathe and do the thing properly. The Art Exchange: Moving Image programme is a year‑long curatorial development initiative backed by the British Council and delivered with creative partners. It offers mentorship, a small exhibition grant, a fully funded research trip to the UK, and access to an internationally recognised public collection. In short: not just prestige, but practical support to realise a moving image exhibition for your local audience.

Think of it as a residency plus a mini commissioning budget, plus professional development and an international network. Up to six early‑to‑mid career curators will be selected — a tiny cohort, which means real attention, not just a name on a list. If you want to sharpen a curatorial idea, put together a public programme or workshop, and present a moving image show that speaks to your community, this programme is worth the work of an application.

Below I walk you through what’s offered, who should apply, how to write a tight two‑page curatorial proposal, and a realistic timeline you can follow to get a competitive submission in by January 18, 2026.

At a Glance

What This Opportunity Offers

This programme is built for hands‑on curators who programme moving image work in non‑institutional or emerging institutional contexts. It pairs personalised mentorship with practical resources. Expect structured online sessions, one‑to‑one mentoring from experienced curators, and workshops on topics such as exhibition planning, rights and licensing, conservation and playback of time‑based media, audience development, and funding strategies.

Crucially, participants get access to works from the British Council Collection. That’s significant: it means you could include internationally recognised pieces alongside local artists’ work. The programme funds a research trip to the UK in May 2026 (dates provisional), where you’ll visit galleries, meet curators and artists, and research works you might programme or contextualise for your local exhibition.

There’s also financial and logistical support to deliver a final exhibition in your home country — subject to approved proposals and due diligence. That includes a grant to realise the show and support to plan a public programme or workshop aimed at making the exhibition accessible to local artists and audiences. In practice this could cover screening costs, technical hire, modest artist fees, and basic marketing. Beyond money, you receive a peer network of five other curators across the continent and strengthened ties to UK cultural practitioners — a multiplier effect for future projects.

Who Should Apply

This is for early‑to‑mid career visual arts curators working with moving image, broadly defined. Curators here includes exhibition‑makers, programmers, producers and practitioners who have experience creating or organising displays of other artists’ work. You’re a fit if you’ve done more than an informal screening night and you can show a track record of projects, even low‑budget ones.

Examples of good candidates:

• A 29‑year‑old programmer in Nairobi who has run pop‑up video programmes in community spaces and wants to mount a more robust moving image show with local artists.
• A museum programmer in Accra who has curated single‑screen film programmes and seeks mentorship on multi‑channel installation and public engagement.
• A festival producer in Kigali who wants to expand into gallery contexts and needs support to stage a longer‑running exhibition.

You’re not eligible if you’re currently enrolled in formal full‑ or part‑time education, or if you’re applying as an artist proposing your own artwork (the programme is for curators). You must be based in one of the listed countries and be able to travel to the UK in May 2026 (visa support will be offered but you must apply). Also check your passport expiry — it must be valid until at least 30 November 2026.

Insider Tips for a Winning Application

This is a competitive, small cohort; your application needs to be sharp. Below are specific, practical moves that reviewers notice.

1. Write a focused curatorial proposal. Two pages is short — use it like a scalpel. Start with a one‑sentence thesis: what the exhibition is about and why it matters now. Follow with a 300‑word curatorial statement that situates the project in local context and explains why moving image is the right medium. Use the rest to outline the programme, a simple timeline, and a brief note on audience.

2. Show feasibility, not only ambition. Curators who promise sprawling festivals tend to get cut. Propose a single, deliverable exhibition with a realistic schedule and technical needs. List essential equipment, approximate costs, and one or two contingency plans (e.g., backup playback options if a codec fails).

3. Make the host letter useful. A signed letter of support should say more than “we support this project.” It should confirm dates, available space (dimensions), technical capacity (projectors, screens, blackout), staffing support, and a named contact. If the venue has restrictions, have them write them down — transparency beats surprises.

4. Demonstrate local and international connections. If you plan to include works from the British Council Collection, explain why those pieces matter in your context. If you intend to work with local artists, name them or describe how you’ll select them. Concrete names and partnerships make you look organised.

5. Mind the rights and technicalities. Moving image projects often stumble on licensing or playback. Briefly state how you’ll secure screening rights and handle file formats. If you don’t know, state that you will learn during the programme, but show awareness of the issue.

6. Curate for an audience. Outline a simple public programme: a workshop, an artist talk, or a community screening that complements the exhibition. Explain who will benefit and how you’ll reach them.

7. Prepare your documents early. CVs should be concise (2 pages for early career, 3–4 for mid‑career), and the proposal must be single‑spaced, readable font. Collect the host venue letter well in advance — venues are busy at year‑end.

Together, these moves tell reviewers you can deliver an exhibition, not just an idea.

Application Timeline (Work Backwards from January 18, 2026)

A realistic schedule gets you a calm submission rather than an all‑nighter.

• December (6–8 weeks before): Draft your two‑page curatorial proposal. Sketch the exhibition concept, timeline, and basic budget. Reach out to your host venue to secure a dated letter of support.
• Early January (3–4 weeks before): Circulate your draft to two readers — one local sector colleague and one outside your niche — and revise. Polish your CV. Confirm file formats for upload.
• By January 10: Finalise the host letter and ensure your passport meets the expiry requirement. Scan and label all documents clearly.
• January 11–16: Do a final proofread, check the online form, test uploads. Submit at least 48 hours before the deadline to avoid technical issues.
• Jan 18, 2026: Application due. Submit early.
• Feb–Apr 2026: If selected, be prepared to apply for a UK visa (the programme offers support). Gather additional documentation and references.
• May 15–25, 2026 (provisional): UK research trip for the cohort. Plan to be available for those dates.

Required Materials and How to Prepare Them

You’ll need three documents uploaded to the online form:

1. Curriculum Vitae (CV) — Keep it targeted. Start with curatorial experience, exhibition credits, programme production or festival roles, and relevant training. Include contact info for two professional referees. For early career curators, highlight learning and small‑scale projects; for mid‑career, centre on larger curatorial responsibilities.

2. Curatorial Proposal (max 2 pages) — Use this structure:

   • Title and one‑line concept
   • Short curatorial statement (about 300–400 words) explaining significance and intended approach
   • Exhibition outline (how many works, spatial concept, technical needs)
   • Audience and public programme (e.g., one workshop, an artist Q&A)
   • Simple timeline and staffing plan
   • Brief budget estimate (line items such as projection hire, artist fees, transport)
   • Note on British Council Collection works you might seek (if relevant)

3. Signed Letter of Support from Host Venue — This must confirm that the venue is prepared to host the exhibition and specify space, proposed dates, available technical equipment, staffing or in‑kind support, and a named venue contact.

Prepare PDFs, label filenames clearly (e.g., Surname_CV.pdf), and make sure the proposal is proofread and within the page limit.

What Makes an Application Stand Out

Selection panels are looking for clarity of vision, deliverability, and local relevance. Standout applications show:

• A tight curatorial argument that explains why moving image is essential to the project, not an afterthought.
• Feasibility: a realistic plan for venue setup, playback, rights, and audience engagement.
• Community connection: proposals that make space for local artists and audiences, and explain how the exhibition speaks to local concerns or histories.
• Institutional support: a detailed host letter that confirms technical capacity and dates.
• Growth potential: a clear sense of how the programme will develop your curatorial practice (mentorship goals, skills you want to gain, networks you want to build).

Be specific. Replace vague claims like “this will build audiences” with a sentence about projected attendance numbers, outreach channels, or partner organisations.

Common Mistakes to Avoid (and How to Fix Them)

1. Vague host letters. Fix: Ask the venue to include explicit commitments — dates, room dimensions, tech list — not just a general endorsement.

2. Overambitious programming in a small budget. Fix: Scale the exhibition to what you can definitely deliver and state realistic costs.

3. Ignoring technical realities for moving image. Fix: Include a short tech rider and backup playback plan. If you need training, say so and explain how mentorship will help.

4. Applying as an artist. Fix: The programme is for curators. If you have an artist’s practice, explain curatorial projects you’ve produced for other artists.

5. Last‑minute submissions. Fix: Start early, request the venue letter early, and submit at least two days before the deadline.

6. Weak audience plan. Fix: Describe the public programme and outreach: who you’ll invite, how you’ll attract them, and how you’ll measure success.

Frequently Asked Questions

Q: Can artists apply?
A: No. This programme is for curators, defined broadly as exhibition‑makers, producers, programmers, and practitioners who curate the work of others.

Q: Which countries are eligible?
A: Applicants must be based in Ethiopia, Ghana, Kenya, Nigeria, Rwanda, Senegal, South Africa, Tanzania, Uganda, or Zimbabwe.

Q: What counts as moving image?
A: Film, single‑ and multi‑channel video installations, projection work, time‑based digital media, and related formats (including VR/AR if framed curatably). Be explicit about formats in your proposal.

Q: Is the UK trip paid for?
A: Yes — the research trip is fully funded for selected participants. Exact travel arrangements and allowances will be confirmed with successful applicants.

Q: Will the programme cover all exhibition costs?
A: The programme provides a grant and logistical support subject to approved proposals and due diligence. It’s not a blank cheque; budgets are assessed against feasibility.

Q: Do I need to secure rights for works I want to show?
A: You should show awareness of licensing requirements in your proposal. Final approvals and rights arrangements may be negotiated during the programme.

Q: What languages are acceptable?
A: Proficiency in English is required for participation.

How to Apply

Ready to apply? Here’s a straightforward checklist and the application link.

Checklist before you hit submit:

• Confirm you meet eligibility (country, not enrolled in education, passport validity)
• Draft and proofread a focused two‑page curatorial proposal following the structure above
• Secure a signed host venue letter that details space and technical capacity
• Prepare a concise, relevant CV (and referee contact details)
• Save all files as PDFs, clearly named (e.g., JaneDoe_Proposal.pdf)
• Allow time to upload and submit at least 48 hours before January 18, 2026

Apply here: https://docs.google.com/forms/d/e/1FAIpQLSev51epvCKi7h8x5PhfPQ-LYNMRRjS0Ov1ag97OYV1cLyigNQ/viewform?usp=header

If you have technical issues with the form, try a different browser or device, and prepare screenshots of any errors for support inquiries. The programme organisers typically offer contact points via the form or the programme page; use them early if you have questions about eligibility or required documents.

Final Notes and Next Steps

This programme is small and selective — which is why it matters. If you’re chosen, you’ll get focused mentorship and practical support to make a moving image exhibition happen in your context, plus a chance to research in the UK and access the British Council Collection.

Before you apply, do two things that cost little time but add a lot of credibility: secure a strong, specific letter from a host venue, and draft a one‑page budget estimate to show you understand costs. Those two items signal to selectors that your project can actually take place.

Good luck — and remember: a tight, believable plan with clear local impact beats a sprawling manifesto every time. If you want, paste your two‑page draft into a message here and I’ll give you line‑level feedback before you submit.