To address this, the Assist programme will:
Help artists at a potentially pivotal moment in their careers to find an assistant, and advise them on how to employ people
Help less-established artists from backgrounds under-represented in the arts to earn money, build networks, and understand how the art world works at a more senior level
Test the viability of continuing the programme in future and report on our findings
Barby Asante’s artistic practice is one in which she creates situations and spaces for dialogue, collective thinking, ritual and re-enactment. Using archival material in the broadest sense, she is interested in breaking down the language of archive, not to insert or present alternatives to dominant narratives but to interrupt, interrogate and explore the effects and possibilities of the unheard and the missing.
Barby Asante is an artist, writer and PhD researcher. Over the last 20 years of artistic action she has created projects that have explored, liveness, performativity and sociability, to think about issues of place, identity and belonging, critically reflecting on race and social justice, performances, films, institutional interventions, that reflect on the histories and legacies of slavery and colonialism. Recent projects and exhibitions include Intimacy and Distance, Diaspora Pavilion (Venice Biennale, 2017); Declaration of Independence, (BALTIC Centre for Contemporary Arts, Gateshead, 2019) and Get Up Stand Up Now: Generations of Black Creative Pioneers , (Somerset House, London 2019).
Rayvenn D’Clark is a UK-based, self-taught (Digital) Sculptor, Writer & Curator and Writer. She is a graduate from MA Fine Art Graduate (Chelsea College of Arts) RSD is Junior Editor for Shades of Noir, Head of Creative (AoCA, Alumni of Colour Association, UAL) and also an Associate Artist for Fevered Sleep. Rayvenn is currently represented by Ju Mee Kim Gallery (2018/19)
Rayvenn’s practice explores the digital hybridity of sculpture following the affirmation of media, exploring the nuances of identity that pivot between hyper-visibility and invisibility, offering (re-)imagined collective perspective. Her work chronicles the elevated reframing of black anatomy – unencumbered, in traction – the mediation between three-dimensional processes alongside the handmade aesthetic within an extended analysis of ‘Objecthood’; the resulting objects emerge contextually abstracted from traditional representational aesthetics – embedded in the everyday, collective experience through methods of display. Such ideological positioning shifts the normative function of figurative practices within this mode of self-referential questioning, which engenders a self-sustaining (non-) fiction rooted in authenticity and criticality that allows audiences to break free from reference once and for all in a new form of hybrid realism.
Rayvenn will be working with Barby to develop her archive an upcoming commissions for 2020/21