tickets available from May 13
€11 reduction / €7 student
Departing from Super 8 video footage of the second and last Antilliean Carnival in the Dutch city Utrecht in 1983, Quinsy Gario weaves historical fact and speculation together.
Gario's uncle, Rudsel Martinus, who left Curaçao as a young adult to study painting in Utrecht and after getting his degrees returned to the island. Gario also came to the study in Utrecht in 2002 but had never heard of the carnival celebrations. That was until his uncle handed him a brown paper bag with the films. After discovering what was on them Gario has been produced several works that depart from this history that was in his uncle's shed.
The work centers on marronage and Caribbean migration to and presence in violent imperial centers. It is an intricate play with memory and resistance practices performed in colonized territories in the Caribbean, specifically those that share continued occupation by the Netherlands. In the work Gario will also look at the significance of the city of Utrecht that in 1713 hosted imperial powers who concluded negotiated who would have the monopoly of the delivery of abducted and enslaved Africans. In the work generational colonial trauma and decolonial practices of refusal are highlighted.
Quinsy Gario is an activist as well as a visual and performance artist from the Dutch Caribbean. His most well-known work, Zwarte Piet Is Racisme (2011–2012), critiqued the general knowledge surrounding the racist Dutch figure Zwarte Piet (Black Pete) and. Quinsy has an academic background in Gender Studies and Postcolonial Studies and is a graduate of the Master Artistic Research programme at The Hague’s Royal Academy of Art.
In English and Papiamentu
Approx. 75 minutes
Co-produced by Beursschouwburg
With the support of the Dutch Embassy in Brussels