NAGB hailed as flagship institution in the region by Holly Bynoe On Wednesday, June 13th, through Friday, June 15th, over
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CATALYST: Harmonising Actions and Trust Building in the Caribbean Creative Ecology
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Tilting Axis Curatorial Fellowship 2018: Bahamian, Natalie Willis, awarded!
By Dr Ian Bethell Bennett As people who view art from outside, we are usually blind to all the moving
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Are We One With Nature? G. Paul Dorfmuller’s Nassau Corner
By Letitia M. Pratt, The D’Aguilar Art Foundation Recently, National Geographic published an article on their website acknowledging their racist coverage
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The NAGB welcomes Eddie Chambers: Cultural critic and writer presents public lecture at the NAGB
By Katrina Cartwright The National Art Gallery of The Bahamas (NAGB) is excited to host cultural critic, writer and professor
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The Moving Image: The First Turn of the Revolution
The National Art Gallery of The Bahamas and LUX Scotland partnered with the British Council to produce a series of short and experimental films that coincides with the exhibition “We Suffer to Remain”. The series highlights a history of moving image expression of hard to have conversations about race, indigeneity and belonging.
Indigenous art takes the lead at the Mixed Media Art Summer Camp
With just three weeks left to prepare for this year’s Mixed Media Art Summer Camp (MMASC), the NAGB team is kicking into high gear to get everything ready for the 100 campers who will be engaging in six weeks of fun creativity between June 25th and August 3rd. The NAGB Mixed Media Art Summer Camp, revamped in 2015, serves as an access point for all kids, ages 5 to 17, to art and its history.
Tall Order: An interview with Nicole Yip of LUX Scotland on meaningful exchange and working to decolonize the archive
The NAGB, in collaboration with LUX Scotland, has put together some really incredible content for our series of film screenings as part of the programming for our current exhibition in partnership with the British Council, “We Suffer To Remain”. Moving image has impacted us so greatly as a region in terms of shaping our narratives, and in how we decolonise and re-shape those narratives for ourselves. The first programme in the series of screenings, titled “One Turn of the Revolution”, featured artwork by the lauded Black Audio Film Collective and Barbadian-born, Glasgow-based Alberta Whittle, dealing with issues around migration and the post-colonial in Britain and in former colonies. Programme II, “Poetics of the Undercommons” will be on view at the NAGB on June 14th.
Troubling Narratives: This is how we suffer to remain
“We Suffer to Remain” is a collaborative exhibition whose seed was sprouted in November 2015, when I was invited to be a part of a curatorial cohort that visited Glasgow and Edinburgh, Scotland, as a part of the British Council expanding and investing in the emerging and burgeoning visual art ecology in the Caribbean. This meeting set an idea in motion about how institutions in the Caribbean can start thinking in new ways about partnerships and collaborations that, 20 years ago, might not have been possible. The Caribbean as a creative space continues to flourish in its liminality, continues to grow and inspire globally as a cornerstone of excellence but, unfortunately, also continues to be a perpetual site of extraction, exhaustion and removal. Perhaps one needs to be alone with these words to understand the gravitas and the generational weight of our inheritance.
Introducing Tilting Axis 2018 Curatorial Fellow, Natalie Willis
For the second year, Tilting Axis has facilitated, administered and designed an open call for our Curatorial Fellowship. In a strong partnership with the University of Texas at Austin Art Galleries at Black Studies we issued an open call to find and seek out a curator living and working in the Caribbean who would rise to the occasion to use the resources, collections and moment at hand to advance their practice in a nuanced and sensitive way.
Jalan Harris “Sankofa: The Madonna Diaries” opens at Doongalik
Jalan Harris’ Inaugural Exhibition entitled “Sankofa: The Madonna Diaries” will open at Doongalik Studios on Thursday, May 31 from 6-9pm.
‘SANKOFA’ is a word in the Twi language from the Akan tribe in Ghana which means, ‘to go back and get it’. A bird most commonly represents Sankofa with its head turned backwards, carrying a previous egg in its mouth dropping it onto its back. Sankofa is often associated with the proverb, “Se wo were fi na wosankofa a yenkyi,” which translates as: “It is not wrong to go back for that which you have forgotten.” The other representation of ‘Sankofa’ is a stylized heart.