Sunday, March 1, 2020

Carnival 2020 residencies

Gwladys Gambie, Maia Nunes, and Alan Vaughan/Moko Somõkõw


During January and February, during the Trinidad and Tobago Carnival season, Alice Yard hosted three artists’ residencies at Granderson Lab, which has been an important location for mas and performance practice in recent years.



Gwladys Gambie, who lives and works in Fort-de-France, Martinique, explores questions of feminism and race through the mediums of drawing, sculpture, and performance. During a two-week residency at Granderson Lab — instigated by her previous collaboration with Kriston Chen during the 2018 Caribbean Linked residency in Aruba — Gambie investigated Trinidad’s Carnival traditions and created a mas performance titled Manman Chadwon, in which she joined the mas band Moko Somõkõw on Carnival Tuesday. Photo by Maria Nunes


  
Maia Nunes is a performance artist based in Dublin, working across the disciplines of textile, original text, and sound in a live performance context. Their artistic research explores the emotional and cultural legacies of colonialism from an intercultural perspective. Their two-month residency with Alice Yard — including research trips, field recordings, and indigo dyeing — laid the artistic research foundation for a major performance work titled Crossings, a version of which will be presented by Alice Yard later in 2020. Photo by Jason Hunte



Artist and designer Alan Vaughan, based in Newcastle, has worked in Carnival masquerade for over two decades, in recent years designing and creating a series of mas bands with a group of practitioners of the traditional moko jumbie (stilt-walking) masquerade. The collaborative mas band Moko Somõkõw, founded in 2018 and based seasonally at Granderson Lab, created the presentation Resurrection at Sorrow Hill for Carnival 2020, inspired by the novel by the late Guyanese writer Wilson Harris. Photo by Maria Nunes

Sunday, January 26, 2020

A walk to Belmont

Sunday 2 February, 2020, 5 pm
From 80 Roberts Street, Woodbrook,
to Granderson Lab, 24 Erthig Road, Belmont



At the end of January 2020, Alice Yard will relocate from 80 Roberts Street, Woodbrook — our base for the past thirteen and a half years — to Granderson Lab, 24 Erthig Road, Belmont. Previously an adjunct space, Granderson Lab will now become the permanent home of Alice Yard.

Since September 2006, our activities have evolved in response to the physical environment at 80 Roberts Street, but we have always maintained that Alice Yard is not merely a place but a social and conceptual space, a model for collaboration, a far-ranging network. Our move to Granderson Lab offers the opportunity to test this idea, as we rethink and reimagine our way ahead in a new (but still familiar) location, and the different (but still familiar) social topography of Belmont.

On Sunday 2 February, 2020, at 5 pm, we will mark this transition with a walk from 80 Roberts Street through Port of Spain to 24 Erthig Road: a short physical journey that will serve as a simple ritual of relocation, and a collective reflection on our past, present, and future.

At Granderson Lab there will be modest refreshments and an opportunity to tour our new home, currently a work in progress. (We will provide transport back to Roberts Street for those who park there ahead of the walk.)

We invite all our friends, colleagues, and collaborators to join us on our walk to Belmont — and in our future imaginings.

Friday, January 10, 2020

Maya Ramesar: Big and Small

Thursday 16 January, 2020, from 6.30 pm
27 Pembroke Street, Port of Spain



On Thursday 16 January, 2020, for one night only, artist Maya Ramesar will present a series of paintings and digital animations in the temporary project space at 27 Pembroke Street in downtown Port of Spain.

“I approach a painting as a room,” explains the artist. “A character is put into a space where it will live forever.” In these works, non-human, subhuman, and superhuman figures abound, elements of fiction that the artist and her audience superimpose over real life. Anachronistic, incongruous, and iconic images merge to subvert conventional representations of Trinidad, as the normal and the calamitous co-exist. The discomfort, tension, and posturing of these figures are forceful rather than subtextual.

The artist writes: “Local art in the public consciousness is serene and picturesque. I was frustrated with figures that appeared contemplative, languid, or busy making merry without gaze. Local people and spaces are often treated as passive muses rather than individual characters.

“What or who gets to take up space, and what is shoved to the periphery? What is framed? Focal?”

All are invited.


Maya Ramesar is communications officer at the Trinidad and Tobago Association for the Hearing Impaired, as well as a freelance illustrator.

In collaboration with #ayardexchange and Cass’Mosha A. Centeno