Led by artist Evan Ifekoya in collaboration with Network11
This artist-led gathering presents a series of sound interventions, drawing on Lubaina Himid’s personal investigation into the ‘the space we can’t see’.
Free, book your place
Exploring strategies of visibility and invisibility through Édouard Glissant’s suggestion that ‘we clamor for the right to opacity for everyone’; the day will explore the material conditions of blackness that permeate this collective of artists’ work, threads of which can be traced back to the work of Lubaina Himid.
The event starts with presentations outside of the gallery space leading into part two which takes place within the exhibition, in dialogue with specific works which reframe histories, complicating well established narratives.
About Evan Ifekoya:
Evan Ifekoya’s current work investigates the possibility of an erotic and poetic occupation using film, performative writing and sound, focused on co-authored, intimate forms of knowledge production and the radical potential of spectacle. An ongoing project ‘A Score, A Groove, A Phantom’ explores archives of blackness, sociality and inheritance as they diffract through queer nightlife and trauma in the present moment.
Network11 is a group of black diaspora art practitioners working in a range of disciplines, media and practices, coming together to celebrate, question + promote developments of art practices. Members participating in this event include Larry Achiampong, Beverley Bennett, Junior Boakye-Yiadom, Shepard Manyika, Jade Montserrat, Ima-Abasi Okon and Kamile Ofoeme.
About the exhibition:
Lubaina Himid, Navigation Charts (20 January to 26 March 2017)
Lubaina Himid was a pioneer of the Black Arts Movement in Britain in the 1980s, which offered a forum for black artists exploring the social and political issues surrounding black history and identity.
Spike Island’s exhibition — a collaboration with Modern Art Oxford and Nottingham Contemporary — focuses on migration, labour and creativity, longstanding concerns for Himid. Anchored by Naming the Money (2004), a spectacular installation of 100 life-size, painted figures that has been shown only once before in its entirety, the presentation brings into dialogue major works from the past 20 years, honing in on Himid’s theatrical use of cut-outs, colour and pattern.