LUX Scotland presents Ayesha Hameed, 'Black Atlantis: Retrograde Futurism'
On 29 April 2006, a twenty-foot boat was spotted off the south-eastern coast of Barbados. On board, eleven bodies were found by the coastguards, preserved and desiccated by the sun and salt water. The ghost ship was adrift for four months on the Atlantic Ocean. It set sail on Christmas day in Praia in the Cape Verde Islands, full of migrants from Senegal, Guinea Bissau and Gambia, en route to the Canary Islands. Each of these men paid £890 for their place on the boat. Four months later the boat was found on the coast of Barbados.
This is an inadequate telling of this story that draws on the materials and tools at hand to make sense of the complicity of weather, ocean currents and state violence in the journey of this ship. Hovering between the film and the essay form is a questioning of the adequacy of the measuring of histories and affects connected to crossing, languages to make evident the materiality of the sea, and the both measurable and immeasurable horror contained in the figure of the ghost ship.
Ayesha Hameed’s moving image, performance and written work explore contemporary borders and migration, and visual cultures of the Black Atlantic. Her projects Black Atlantis and A Rough History (of the destruction of fingerprints) have been performed and exhibited internationally. She is the co-editor of Futures and Fictions (Repeater 2017) and is currently the Programme Leader for the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths, University of London.
This is a public event presented as part of Glasgow School of Art’s ‘Race, Rights and Sovereignty’ series, in partnership with the Glasgow School of Art Students’ Association.
Image: Ayesha Hameed, Black Atlantis: Retrograde Futurism, 2018 (film still). Image courtesy the artist.
The Art School, Glasgow School of Art Students’ Association, Glasgow, United Kingdom