Friday, March 22, 2019

Kearra Amaya Gopee: Work in progress

Wednesday 27 March, 2019, 7 pm, at Alice Yard

Artist Kearra Amaya Gopee has been in residence at Alice Yard during the month of March 2019. On Wednesday 27 March, they will present recent video work and a new installation in progress.

The video work Artifact #3: Terra Nullius is the self-referential final peg of a three-part work that visualises how personhood, family, and intimacy are influenced by lineages of trauma and spirituality within diasporic Caribbean identity. This piece closes the artist’s Artifacts series, a trilogy exploring how migration and memory affects manifestations of the Anglophone Caribbean family from the pre-Independence period to the present, using Gopee’s own family history as a point of reference.

Employing scrying and speculative non-fiction to demonstrate agency in crafting models of communication and care within the present, Terra Nullius abandons nostalgic desires for the biological family structure in favour of alternative kinships. The term “terra nullius” is “used in international law to describe territory that may be acquired by a state’s occupation of it.” Here, the state refers to that of being, one that is constantly being renegotiated with the entry/exit of new modalities with which we engage each other and subsequently reconstruct the self.

All are invited.

Kearra Amaya Gopee’s practice focuses on the nature of violence and erasure, and the particularities of that which is inflicted on the Caribbean by the global north. Using personal experiences as a point of departure, they address themes of migration, intergenerational trauma, queerness, and difference while seeking to complicate the viewer’s understanding of economic and social marginalisation in the postcolonial Caribbean. Through photography, animation, video, installation, coding, sound, and handicraft, their observations are translated into ephemeral photographs, installations, and objects. Their work interweaves the personal with the historical, the mythological with the material.

Gopee is a visual artist and photographer living and working between Carapichaima, Trinidad and Tobago, and Brooklyn, New York. They have been included in recent exhibitions at AC Institute, Jenkins Johnson Projects and the New York Art Book Fair at MoMA PS1. Gopee has completed residencies at Vermont Studio Centre, ACRE, and NLS Kingston, and will be in residence at Red Bull Arts Detroit this summer. They hold a BFA in Photography and Imaging from New York University and attended the Skowhegan School of Painting and Sculpture in 2018.

Wednesday, February 13, 2019

Shannon Lewis: Get Me Bodied

Thursday 21 February, 2019, 7.30 pm, at Alice Yard

On Thursday 21 February, 2019, artist Shannon Lewis will present a one-night installation of her ongoing project Get Me Bodied at Alice Yard, offering “an intricate and philosophical narrative, touching on issues of decoloniality, self-worth, and commodification.”

All are invited.

The artist writes:

“In Get Me Bodied, shapeshifting is an adaptation. It is the work we do to be able to move between spaces, classes, and geographies. But what does that work — the constant reworking — do to our bodies or our minds? It is about the performance and the objects that we collect along the way. We primp, preen, fix up — look sharp, grow, develop appendages that are useful until they’re not. It is about mobility, intersecting with sexuality, gender, race, immigration, class, economics, and social climbing.

“The task of a migrant is to learn the anatomy of a new society and reconstruct yourself in a new accommodating form. This framework and your performance in it are never invisible to you. So you either become flexible with the constant social contortions, or you fold over and break. The work sits in a space that contemplates the push and pull of this operation. It sits in a space that has fun with high femme performance fantasy and total exhaustion. Self-making as sport, for access and for life.”

Shannon Lewis is a Canadian-born, Berlin-based artist with Trinidadian roots, whose practice encompasses painting, installation, and performance. She has exhibited in Canada, the United States, Britain, and Germany. She has a BA from OCADU in Toronto (2006) and an MFA from Goldsmiths, University of London (2014). 

Sunday, December 30, 2018

Adam Patterson: Sailors

Sunday 6 January, 2019, 7 pm, at Alice Yard

At the end of a brief residency at Alice Yard in early January 2019, on Sunday 6 January artist Adam Patterson will present a semi-extemporised performance in collaboration with writer Andre Bagoo and others. Incorporating elements of Trinidad’s sailor mas and Barbados’s traditional Landship performance, and responding to the work of American writer Langston Hughes and British artist Isaac Julien’s film Looking for Langston, Sailors is an exploration of desire and distance, pleasure and disappointment, secrets and surprise, in the form of “a cruise of poetic correspondence … queering sailors and horizons.”

All are invited, and audience members are encouraged to bring or wear any item of traditional sailor costume or paraphernalia.

About the artists:

Adam Patterson is a Barbadian visual artist and writer currently based in Barbados, Rotterdam, and London. He completed his BA (Hons) Fine Art at Central Saint Martins in 2017. Concerned with how stories, images, and gazing affect the emergence of selfhood and self-determinacy, his work involves telling new stories or rethinking old stories in new recuperative ways.

Andre Bagoo is a Trinidadian poet, the author of Trick Vessels (2012), BURN (2015, longlisted for the OCM Bocas Prize for Caribbean Literature), Pitch Lake (2017), and The City of Dreadful Night (2018).

Thursday, December 6, 2018

Conversations in the Yard: Caribbean Digital 2018

An installation of digital video works by five contemporary Caribbean artists

Friday 7 December, 2018, 8 pm, at Alice Yard

Still from Marchons unis … (Let’s walk together…), by Maeksaens Denis

As part of The Caribbean Digital 2018 conference, on Friday 7 December Alice Yard will host an informal installation of digital video works by artists Di-Andre Caprice Davis (Jamaica), Maksaens Denis (Haiti), Asha Ganpat (T&T/USA), David Gumbs (Saint-Martin), and Rodell Warner (T&T). By placing their individual works “in conversation” with each other in our physical space, we hope to suggest affinities and sympathies among these artists from diverse Caribbean backgrounds.

Christopher Cozier, artist, curator and Alice Yard co-director writes:

Digital experimentation among artists in the Caribbean began as an alternate space of becoming as soon as the technology became accessible during the 1990s. For example, pioneering works came the from the live VJ public performances and experiments of Maksaens Denis moving between the raves of Europe and the streets of Haiti. Across the region and the diaspora, in response to traditional regulated territories, new prospects opened up and out for understanding our space. As artists, it brought us together and in communication with each other and expanded our visual vocabularies and ways of imagining. In this other place, somewhere between the actual and the virtual, it continues to expand.

All are invited.

Still from Blood, by David Gumbs 

Wednesday, October 17, 2018

Di-Andre Caprice Davis: NOT YOUR KIND OF ARTIST

Thursday 25 October, 2018, 4 pm until, at Alice Yard

Ebony G. Patterson, in collaboration with Alice Yard, is pleased to support the research and working residency of Jamaican artist
Di-Andre Caprice Davis
in Port of Spain during the month of October 2018.

On Thursday 25 October, the artist will present her current work in progress, NOT YOUR KIND OF ARTIST: Part 1 — Influences.

All are invited.

About the artist:

Di-Andre Caprice Davis was born in Kingston, Jamaica. She is a self-described experimental artist exploring new media technologies. Her work is primarily an exploration of form, engaging the opportunities afforded by new media to develop new languages that reflect a twenty-first century existence. Abstraction, computer graphics, GIF art, glitch art, mathematics, photography, science, surrealism, and videography are some of the fascinations that animate her practice. She has exhibited across the Caribbean and internationally. Notable exhibitions include the National Gallery of Jamaica’s Jamaica Biennial (2014 and 2017), and Jamaican Pulse: Art and Politics from Jamaica and the Diaspora at the Royal West of England Academy, Bristol, United Kingdom (2016). At the 2017 Trinidad and Tobago Film Festival, she won the award for Best Experimental Film for her work Chaotic Beauty, 2016, which has also been shown at The Dean Collection’s No Commission show during Art Basel Miami Beach 2017.

Wednesday, June 20, 2018

Kareem-Anthony Ferreira: Work in progress

Friday 22 June, 6 to 8 pm, at Alice Yard

Artist Kareem-Anthony Ferreira has been in residence at Alice Yard  for three weeks in June 2018. On Friday 22 June he will present his current work in progress.

All are invited.

Ferreira writes:

“In my recent work, I re-assign value and purpose to a series of photographs and objects to develop a commentary on traits inherent to my family. My paintings are heavily directed by the accumulation and assemblage of disassociated objects in an effort to delve into the significance of the collections of my family members. These individual found objects are a direct reflection of myself and some family traits. Each painting is individually built up from layers of information and history. The human figure is also another found object that is a vehicle for this exploration. The source materials I am working with are photographs taken at a time of high significance, but I now find these pictures discarded and forgotten. By extracting sections of these photographs and re-assigning value and meaning, I hope to discover the significance of the accumulations in my family.”

Friday, April 20, 2018

Sonia Farmer: A True & Exact History

Installed from 26 April to 17 May, 2018, at Granderson Lab

A True & Exact History (2018) by writer and artist Sonia Farmer is an erasure of Richard Ligon’s A True & Exact History of the Island of Barbadoes (1657), letterpress-printed. From Thursday 26 April to Thursday 17 May, it will be installed in the front gallery space at Granderson Lab, Alice Yard’s adjunct space at 24 Erthig Road, Belmont.

Sonia Farmer will also appear at the 2018 NGC Bocas Lit Fest, reading from her book Infidelities (longlisted for the 2018 OCM Bocas Prize) on Saturday 28 April:

Island to island
The personal becomes the political in the poems of UK poet Raymond Antrobus, Bahamian Sonia Farmer, and Richard Georges of the British Virgin Islands. Chaired by Andre Bagoo
11 am–12 pm • Old Fire Station, Hart Street, Port of Spain
Free and open to all

Tuesday, April 3, 2018

Most Things Happen When I Am Asleep

6 April to 19 May, 2018
Artspace, New Zealand Aotearoa

Most Things Happen When I Am Asleep is an international exhibition bringing together the work of La Agencia from Colombia,  Beta-Local from Puerto Rico, Alice Yard from Trinidad and Tobago, TEOR/ética from Costa Rica, and Cemeti-Institute for Art and Society from Indonesia to Artspace NZ.

The exhibition showcases work from these places as well as offering modest proposals on how institutes can evolve, develop and constantly change, actively connecting Aotearoa to the geography and social urgencies of Indonesia, Costa Rica, Colombia, Puerto Rico and Trinidad and Tobago.

As an internal exercise on the institutional workings of Artspace NZ itself, Most Things Happen When I Am Asleep publicises the work of other “artspaces”, visualising printed and pasted material in the space along with artist proposals, manifestos, moving image work, flyers, and books, arguing that the institute can be understood through artistic work and vice versa. The different knowledges that both artists and institutional bodies produce are blended together to propose three loose themes through which to read artspaces.

The knowledges produced mean to challenge definitions of “institutes” and “grassroots”, and other such categories, diverting attention from ideas like “the source” and “authenticity” to instead focus on flexible and open use. What emerges are liquid methods that produce work by navigating weather, fast changing political realities, education and life’s necessities.