Shamika Germain présente une série de peintures, sculptures, textes et installations qui retracent son expérience en tant qu’enfant ayant connu l’administration de la garde et les foyers d’accueil (de la Jamaïque, à Saint Martin, en Guadeloupe). Avec tant d’autres enfants “placés” elle comprend la négligence, l’absence de soin, les abus de pouvoir, la peur, la violence et surtout l’impuissance face à ces adultes, ces grandes personnes: trop fortes, trop imposantes, qui décident de tout.
To read Earl Lovelace, I believe – is to pick up a magnifying glass, sliding it slowly over the surface. Watching the skin, texture, colour, irregularity, fault lines, constellations. The sensitivity of our interior landscapes, where a wound used to be. Same time, paying attention to the pleasant familiarity, discomfort, memory and soundscape that this exercise creates.
Beyond the spatial designation of the zócalo however, in his presentation, Guevara the Exhibition’s Curator highlighted the collective significance of the zócalo as a space for communal archive, memory, existence and survival “… the point of coming together; a space of collective gathering; a site for tactical manoeuvering, laughter, joy, celebration. A site for protests and acknowledgement of an Other.”
The Caribbean Fine Art Fair (CAFA) celebrates 15 years in 2025. A conversation with Anderson Pilgrim (Co-founder & Director) on the importance of creating spaces where artists, art worlds and community can connect.
I’ve Seen This Place Before, the first solo Exhibition by Sabrina Sinanan calls us in to pause, if only for a moment and steady our attention in this moment, to observe and even to question: how and why we’ve found ourselves here, now, at this specific time.
In his new exhibition Whispers (2024, Readytex Art Gallery, Suriname) Rinaldo Klas presents a series of works which compel us to remember the ways of ancestral indigenous knowledge and the way we were. The way in which we built, the way we looked to the sky, to the forests and life cycles for guidance and for sustenance.
Sonia E Barrett (B. 1975) is a multidisciplinary artist of Jamaican-German heritage, currently based in London, UK. Working across photography, digital and sculptural installations, Barrett describes her practice over the past decade as always “dealing with what holds us together, what keeps us apart.”
My story with Jackie Hinkson began over 30 years ago. I keep close vivid memories of flipping through large calendars featuring the most luminous and vibrant watercolour paintings of Caribbean landscapes and seascapes printed by an insurance company at that time I believe. The paper stock for these calendars was thick and textured, with the distinct scent of fresh new school books.
If Art is a reflection of the times, then Artists, artmakers and creators of things, continue to give us clear insight into our ever changing world-s at any given moment in time.
What happens when process becomes the focus? Couldn’t the studio become a collective research experience?
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