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About the Brooks International Fellowship

Since 2014 Brooks International Fellows have been at the forefront of research at Tate, showcasing the range of research activity taking place across the organisation. These international visual arts professionals have collaborated with Tate in a range of disciplines including curatorial, learning, community and partnerships, collection care, research and interpretation, digital practice and visitor communications.

The Fellowship Programme supports two research Fellows a year to work with a Tate host team. The Fellowship is envisaged as a mutually beneficial cultural and professional exchange. It allows the Fellows, who are established practitioners, to bring their expertise of working in other regions to Tate, whilst also giving them the opportunity to learn from the cultural sector in the United Kingdom.

To date, Tate and Delfina Foundation have hosted 24 Brooks International Fellows from Aotearoa New Zealand, Argentina, Barbados, Brazil, Canada, Egypt, France, Germany, India, Mexico, Netherlands, Pakistan, Portugal, South Korea, Thailand, Turkey, and the USA.

Tate is proud to partner with the Delfina Foundation, who offer a London-based residency for the Fellowship. Brooks International Fellows benefit from the Foundation’s international residency programme, contributing to its programme by presenting on their research or practice to a range of audiences.

Fully funded Brooks International Fellowships are made possible by the generous support of the Rory and Elizabeth Brooks Foundation.

About Delfina Foundation

Founded in 2007, is a non-profit organisation dedicated to facilitating artistic exchange and developing creative practice through residencies, partnerships and public programming. Delfina Foundation forges international collaborations to build shared platforms to incubate, to present and to discuss common practices and themes.

About the Rory and Elizabeth Brooks Foundation

The is a private, philanthropic foundation created in 2006 to provide a structure for Elizabeth and Rory’s ongoing philanthropy. Elizabeth serves as co-Chair of °Õ²¹³Ù±ð’s Photography Acquisition Committee, and Rory and Elizabeth are members of the International Council.

For further information about the fellowship programme, please contact international.fellowships@tate.org.uk.

How to apply for the Brooks International Fellowship

Applications to the Fellowship Programme are only accepted during the annual open call period, which is announced on . We anticipate the call for 2026 Fellowships opening between August and September 2025, with Fellows hosted between April and September 2026.

Each year’s Fellowships are themed around research areas defined by the Tate departments hosting the Fellows. Any department can choose to host a Fellow, so the themes and areas of research for the call change from year to year. Themes for 2026 will be announced when the open call is launched.

If you have any queries about the Fellowship programme, please contact international.fellowships@tate.org.uk.

Bruno Alves de Almeida
2025 Tate St Ives Programme Fellow, Brazil and Portugal
Department: Tate St Ives Programme
Hosts: Georgina Kennedy, Curator, Communities; and Giles Jackson, Curator, Interpretation

Bruno is collaborating with Tate St Ives to support the development of its residency-based Artists Programme within the reimagining of Barbara Hepworth’s Palais de Danse. His research explores how cultural institutions can devise situated and socially engaged residencies that foster meaningful connections with their localities while addressing urgent global challenges and the shifting conditions of artistic practice. He is also working to develop international partnerships and networks.

Bruno is a curator whose practice is rooted in site-specificity and responsive to the socio-spatial dynamics of place. His ongoing research investigates curatorial and institutional formats that strengthen the relationship between artistic practice and the public sphere. His work weaves his background in architecture with art, urbanism, policymaking, design, and the social and natural sciences. This interdisciplinary approach has informed projects that operate across public and private realms in São Paulo, the liminal urban-rural landscapes of Maastricht, and – during Bruno’s time as Artistic Director of the Luleå Biennial 2024 – institutions, heritage buildings and public sites in the Swedish Arctic.

Bruno is currently Curator and Resident Liaison at the Jan van Eyck Academie, Maastricht, and a recipient of the Mondriaan Fonds’ Curator Researcher Grant 2025 for his project Threshold Institutions, Liminal Practices. Among other roles, he was Artistic Director and co-curator of the Luleå Biennial 2024 – Art & Architecture, and a tutor at the Design Academy Eindhoven. He has collaborated with institutions such as Tate; the Harvard Graduate School of Design, Cambridge, Massachusetts; Storefront for Art and Architecture, New York; Independent Curators International, New York; the Canadian Centre for Architecture, Montreal; PACT Zollverein, Essen; the 11th São Paulo Architecture Biennial; and Pivô Art and Research, São Paulo. He is also an alumnus of the De Appel Curatorial Programme, Amsterdam.

Bruno was born in Brazil and is based in Maastricht.

Youngshin Yook
2025 ºÚÁÏÉç Curatorial Fellow, South Korea
Department: ºÚÁÏÉç Curatorial
Hosts: Alvin Li, Curator, International Art (supported by Asymmetry Art Foundation); Elsa Collinson, Assistant Curator, International Art; and Hera Chan, Adjunct Curator, Asia Pacific (supported by Asymmetry Art Foundation)

Youngshin is an art historian who studies the media history of artistic labour through gendered and decolonial lenses. Her research and dissertation explore ways to reimagine ink painting as a malleable medium, rather than one confined by traditionalism or ethno-nationalism, and to reposition it within modern and contemporary art history.

At Tate Youngshin will research Asian artists and diasporas active in 1960s Britain and beyond, focusing on those whose work engaged with ink painting as material, method or conceptual worldview. Rather than framing their practices through rhetorical binarism such as East and West, she will examine how their work was mediated by or collided with the artistic, geopolitical and scientific currents of the time. Youngshin recently published an article in Orientations, on the ink abstractions of Hong Xian (Margaret Chang), a female member of Fifth Moon Group in post-war Taiwan. Youngshin is currently serving as Associate Editor of Primary Documents: Korea, a forthcoming anthology of critical writings on modern and contemporary Korean art from the Museum of Modern Art, New York.

Youngshin was born in Korea and is based in Seoul and Ann Arbor.