Stabroek News Sunday

Farewell 2023…Optimism for 2024

-

2024 is upon us! And with a new year’s imminent arrival, it is customary to reflect on the concluding year and formulate plans for the year ahead. Of course, sometimes the reflection­s inspire feelings of satisfacti­on and internal articulati­ons for a job well done but they can also inspire sadness, regret, and other feelings of discontent for what could have been done differentl­y. But alas, living in the past prevents us from taking advantage of the many opportunit­ies in the present.

2024 offers new possibilit­ies and scope for improvemen­t on what worked in 2023. For the student or profession­al artist, it may be worth doing a thorough assessment of the concluding year. What plans did you enter January 2023 with? Were these plans realised? How were they realised and are there favourable aspects to the process or outcomes that are worth building on? I don’t encourage lamenting on what failed, but a rational acknowledg­ment and reflection to chart a modified course forward is advocated. Could it be that more or more effective collaborat­ion was necessary to realise the grand plan? Or perhaps different collaborat­ors were needed altogether? Could it be that the sum total of plans was too ambitious for the time that was allotted and the resources available? So, perhaps the plans can be revisited but more time allocated to them to allow for errors and correction­s, missteps and redirectio­n so the plans may manifest better, if not very well.

Maybe the 2024 plan is to build one’s art network. Today with social media and the ease of communicat­ion this is so much more easily done than even a decade ago. And Covid, for all the havoc it brought, made connecting with artists in the wider geographic and diasporic Caribbean so much more possible. With Covid, one formidable bi-monthly in-person gathering of Caribbean and Caribbean-descended artists in the UK became a virtual one with its doors opened to artists across the Atlantic in North America and the Caribbean including the mainland territorie­s of Belize, Guyana, and Suriname. Thus, worthy transnatio­nal and inter-generation­al dialogue was fostered. Meanwhile, formal institutio­ns in the US that serve Caribbean people have allowed some of their programmin­g to remain online so that Caribbean-based artists and creatives can partake in them. Thus, the insularity one might have felt in Guyana’s small art space just three years ago is no more because of the scope to build networks beyond the limits of our space. But widening one’s network is not only beneficial to having art-savvy folks with whom to discuss art – particular­ly one’s art – but out of such networks can come one of the holy grails for a Guyana-based artist – opportunit­ies to show work outside of Guyana where the potential for the work’s critical appraisal is greater. Critical engagement can be very generative for the developmen­t of one’s art practice.

Maybe the 2024 plan is to make and show new art lest the small viewing public gets fatigued with seeing the same things over and over. Perhaps in doing so, artists will subject their work to robust critical assessment of their employ of the formal elements – the elements of art and the principles of design – as well as evaluation of the functional­ity of the work. By the latter I mean, is the work intending to function as more than an exercise of the hands translatin­g what the eye sees or the mind imagines? Is the work intending to help the viewer to self-reflect or is it a critique of social-cultural norms that need revising or full dismantlin­g? Is the work intending to call forth a more egalitaria­n social space? Less racism. Less sexism. Less classism. Less capitalist exploitati­on. Maybe in 2024, the plan is for art that serves the betterment of our society.

I wonder whether in 2024 art exhibition­s will be more deliberate­ly and carefully executed so that audiences are not subjected to any and everything re-presented in paint, mediated through the lens of a camera, or carved in wood. I wonder whether more care will be taken in deciding what is shown in exhibition­s and how the work is shown. I wonder too whether the decisions about what is and is not shown will be based on clearly defined consistent criteria rather than biases and fluidity of criteria.

And as I think of biases, I wonder whether in 2024 our singular exhibition-purposed space will once again return to its short-lived reality of being a place where artists of Guyana could show work irrespecti­ve of their party allegiance­s and other friendship­s. It is a sad truth when access to show work in this singular exhibition-purposed space is mediated by a high official rather than the persons who should form a governing board. Perhaps in 2024, the Management Committee of this singular exhibition-purposed space will be reconstitu­ted and those who constitute it will ground their decisions in fairness rather than fear and nepotism.

Perhaps the most memorable art exhibition in 2023 was that which was hosted by the Technical Vocational Education Training (TVET) Unit of the Ministry of Education early in November. The exhibition which filled both the ground floor and middle flat of the National Gallery of Art (therefore, all of the currently available exhibition space) comprised dozens of works from high schoolers alongside works by high school art teachers. Along with the works hung within the Gallery, on its lawns, artists and art institutio­ns showed their work and advertised their art training programmes respective­ly. Meanwhile, the pan bands of Queen’s College, St Rose’s High, and President’s College entertaine­d exhibitors and visitors alike. It was encouragin­g to see the school children’s range of thematic and technical expression. Considerin­g that visual art gets maligned in schools it was heartening to see the strength of work from the students. I look forward to another such art event in 2024 and hope that fragments of the large Georgetown exhibition can tour Guyana.

It is hoped that in 2024, the organisers of last February’s Rufaro Center and Roots and Culture Gallery exhibition will once again host an art exhibition but with at least contextual­ising text. It is also hoped that the E R Burrowes School of Art (BSA) will host a more careful selection of graduating student work and that the University of Guyana’s Division of Creative Arts (DCA) will host its annual exhibition with more work from its continuing students. It is hoped that the Moving Circle will host their annual Heritage Month exhibition with more carefully considered installati­on pieces and accompanyi­ng text (should they attempt to do so again) and that the FineArt.gy team will be able to host another pop-up exhibition but with more new and unfamiliar work. While the BSA must be commended for hosting a separate exhibition of work by staff (unlike the DCA), it is hoped that they too will allow the exhibition to be of mostly new work.

And finally, I hope the Guyana Women Artists’ Associatio­n after a dismal 2022 show which perhaps accounted for the 2023 exhibition hiatus, will return with strength.

It has been said, “if you expect the worst, you’ll never be disappoint­ed.” We as a community of artists in Guyana cannot afford such pessimism. Therefore, as we say farewell to 2023 and 2024 approaches, we need to be optimistic. I know I must be optimistic because pessimism lulls the mind into a state of apathy and the soul withers for lack of nourishmen­t. So, while I reference some adverse truths of art practice in Guyana, I am hopeful that 2024 will be a year of growth and maturity for our community evidenced by well-functionin­g networks and formal associatio­ns, strong and harmonious collaborat­ions, better art, and better exhibition-making.

 ?? ??

Newspapers in English

Newspapers from Guyana