This short video documentary on the National Biennial 2012 was produced and contributed, as a special courtesy, by Marvin Bartley Studios Ltd.
As the National Biennial 2012 draws to a close, we are pleased to provide you with yet another perspective, contributed by Kei Miller, Jamaican poet, novelist and essayist.
It has not been my habit to write about art – to transcribe the awe I sometimes feel standing in front of a piece, or to jot down the fleeting thoughts that might cross my mind while viewing a work. Part of this is self-doubt, of course. I have never studied the visual arts, and I suspect it has a language which I don’t know how to speak.
And then again, there is another feeling I have that the best art actually speaks its own language – something beyond words – and that this business of translating paint or ceramic or film into syllables and punctuation marks, a semiotic medium which it resisted in the first place, is always a kind of reduction. Perhaps I have taken Susan Sontag’s warning to heart – that to talk about art is too often an act of trying to interpret it – to give it a meaning.
Of course at this year’s biennial, much of the work is full of rigorous intellectual content, but nothing that I would call ‘meaning’. This word ‘meaning’ suggests a neat and sometimes too-tidy conclusion, while I suspect our best Jamaican artists are more interested and drawn to the many and messy layers of exploration that precede such flat finalities.
I am grateful that Ebony G. Patterson has not yet concluded her fascinating exploration of not-quite-male/not-quite-female bodies. And the work does not seem anxious for conclusion. The bodies she represents seem to move both robotically and gracefully across a much wider spectrum of gender than we tend to imagine let alone acknowledge. What might start out as masculine in Ebony’s work can easily end up feminine; what might start out effeminate can end up butch. But more interesting than these binaries are the many other points along the spectrum; Ebony’s bodies pause at and perform many other genders – genders that have not yet been named by language. ‘Masculinity’ for instance, seems to be a plural thing in Ebony’s work and so embraces the effeminate man, not as someone whose behaviour is antithetical to manliness, but rather as a possible and authentic version of it. The dainty flowers that hang in her video installation this year end up not only contrasting but also perfectly complimenting the soft beauty of her men.
When I step out from the tropical, slightly magical cave she has created, back into the bright lights of the gallery – I am not conscious of anything so simple or smug as a conclusions, only of a fascinating journey. Continue reading
The National Gallery of Jamaica is pleased to present a talk featuring artists in the 2012 National Biennial on Monday March 11, which will also be the ultimate opportunity to see this critically acclaimed exhibition before it is dismounted.
The talk will talk the form of a walk through the exhibition, during which participating artists will give insights into their work and the work of other artists, and take questions, The artists giving this tour are: Storm Saulter, Duane Allen, Hope Brooks and Jasmine Thomas-Girvan – who was the winner of the Aaron Matalon Award for the most outstanding submission to the exhibition. This special programme will start at 11:00 a.m. Students are especially encouraged to attend.
To facilitate this programme and to accommodate more casual visitors, the Gallery, which is normally closed to the public on Mondays, will exceptionally be open from 10 am – 2:30 pm Monday’s programme will be the absolute last opportunity to see the National Biennial, which was scheduled to close on March 9but has been held over on March 10 and 11 by popular demand.
Please join us for this special Monday opening and an engaging and lively last viewing of the 2012 National Biennial.
The National Gallery of Jamaica is pleased to present a special Sunday opening on March 10th and one more opportunity to see the National Biennial before it closes. As has become customary for our Sunday programmes, opening hours will be from 11am to 4pm, with free admission, tours, and children’s activities.
On March 10th, we are collaborating with the Kingston Book Festival to present a programme that includes a panel discussion on art book publishing and the launch of Claudia Hucke’s much-anticipated book Picturing the Postcolonial Nation: (Inter)Nationalism in the Art of Jamaica, 1962-1975.
Last month, February 2013, was observed as Black History month and this encouraged reflection on blackness and contemporary Jamaican art. The following is a perspective on how these issues play out in the 2012 National Biennial, contributed by NGJ Senior Curator, Nicole Smythe-Johnson.
There is a peculiar tension around Black History Month in Jamaica. On the one hand, there is a very active discourse around the celebration of blackness, often couched in Pan-Africanist terms à la Rastafari or articulated through an anti-colonial lens which associates blackness with broader historical and contemporary resistance narratives. On the other hand, there is a disavowal of racial identification (at least as primary) as illustrated by the National motto “Out of Many, One People”. This is often accompanied by an uncertainty as to whether “Black History Month” is even relevant in a country where the majority of the population is of African descent and therefore most of the island’s history would qualify as “Black History”, even by the most stringent standards. The question can arise, what is blackness? Who counts as black? Why does it even matter?
Then, in case the issue isn’t sufficiently complex, there are other things, concepts that haunt (and often undermine) the ideological positions listed above. These home-grown “duppies” are of another variety altogether, they have no respect for accommodation-resistance binaries, they do not fall into neat categories or even yield easily to sociological analysis. A few easy ones are “colour-ism”- that more nuanced and elusive cousin of racism, the equally un-resolved relation between race and class and its implications for the distribution of privilege in Jamaica, and of course the ever-present skin bleaching, a phenomenon which try as we might refuses easy explanation.
The National Gallery of Jamaica is pleased to present its Last Sundays programme for February 24 in celebration of Black History Month. We are collaborating with the Jamaica Association of Dramatic Artists, to present a programme of movement, music and dramatics that pays tribute to the National Gallery’s visual art space, Reggae month and Theatre.
This special programme will start at 1:30 p.m. and will be presented in various parts of the Gallery, featuring performances by Ruth HoShing, Oliver Mair, Jerry Benzwick, Tribe Sankofa, the Quilt Performing Arts Company, Hilary Nicholson and others.
Visitors will also be able to see the critically acclaimed 2012 National Biennial exhibition and a special performance art piece by Ebony G. Patterson, which is featured for the last time before the Biennial closes on March 9. The permanent exhibitions will also be open for viewing.
As is now customary, the National Gallery is open every last Sunday of the month, from 11:00 a.m. to 4:00 p.m., with free admissions and tours as well as special programming in the afternoon.
This perspective on the 2012 National Biennial was contributed by a visitor to the NGJ, Deanne Bell, Ph.D. It is the second of several perspectives from staff members and viewers we intend to publish.
I return home to Kingston to work on my dry-cleaning business. The days are filled with entrepreneurial responsibilities; fine tuning operations, responding to customer concerns, managing resources. It is difficult to know what I feel. The world of capitalism requires this numbness in order not to question its premise or link it with the poverty and brokenness I see in people’s bodies everyday.
I go to the National Gallery on Ocean Boulevard for the opening of the 2012 Biennial and twice, again, in January 2013. Brazilian politician, writer, and theatre director Augusto Boal (2006) observes that aesthetics can play a role in instigating emotion where the ability to feel is atrophying. Continue reading
The NGJ is continuing its Last Sundays programme, whereby it is open every last Sunday of the month, in addition to its regular opening hours, and will thus be open to the public on January 24, 2013, from 11 am to 4 pm.
As a special feature, the NGJ will be screening of the Jamaican feature film Better Mus’ Come (2010), which will start at 1:30 pm. Better Mus’ Come is a dramatic love story framed by a fictionalized account of the political violence of the 1970s in Jamaica. Directed by Storm Saulter and written by Joshua Bratter, Paul Bucknor, and Storm Saulter, the film has received significant acclaim and received the Best Feature Awards at Trinidad & Tobago Film Festival and Bahamas International Film Festival, the Best Director Award at the Pan-African Film Festival, and the Best Actor Award at American Black Film Festival. The film has also screened at the Toronto International Film Festival, the Film Society of Lincoln Center and the British Film Institute. The African-American Film Festival Releasing Movement (AFFRM) recently announced the launch of its new label, ARRAY, dedicated to multi-platform distribution of black independent film and the label’s first acquisition is Better Mus’ Come, for all US distribution rights.
Visitors will also be able to view the 2012 National Biennial, a special performance piece by Ebony G. Patterson and the NGJ’s permanent exhibitions. Storm Saulter is in one of 86 artists represented in the Biennial.
As has become customary on Last Sundays, general admission and tours are free on that day. The film screening attracts a contribution of $ 200 per person and seating is limited to 80 persons in all, to be admitted on a “first come and first served’ basis. Tickets for the film can be purchased in advance from the NGJ – please call 922-1561 for more information.