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Reading at the 2018 NGC Bocas Lit Fest in Trinidad

2018 Bocas Festival

Sonia Farmer will  appear at the 2018 NGC Bocas Lit Fest, reading from her book Infidelities (longlisted for the 2018 OCM Bocas Prize) on Saturday 28 April:

Island to Island
The personal becomes the political in the poems of UK poet Raymond Antrobus, Bahamian Sonia Farmer, and Richard Georges of the British Virgin Islands. Chaired by Andre Bagoo.
11 am–12 pm • Old Fire Station, Hart Street, Port of Spain
Free and open to all

A True & Exact History at Fresh Milk, Barbados

For 24 hours only, Sonia will be presenting her artist book “A True & Exact History” where the project first began: the Fresh Milk art platform in Barbados.

Join Sonia on opening night, 6:30pm on April 30 to view the work and hear her in conversation with Ayesha Gibson-Gill, Cultural Officer for Literary Arts at the National Cultural Foundation, and Tara Inniss, Lecturer in the Department of history and Philosophy at The University of the West Indies, Cave Hill Campus.

The event is free and open to the public. The work will also be available to view on Tuesday May 1 between 10am – 2pm.

Sonia Farmer_True and Exact History Flyer

A True & Exact History at Granderson Lab

Sonia Farmer’s artist book, “A True & Exact History” will be on display at Granderson Lab in Trinidad from the 26th April to the 17th May, 2018.

farmer leaflet 2

A True & Exact History at the National Art Gallery of The Bahamas

we suffer to remain

Sonia’s latest artist book, A True & Exact History, will be on display as part of “We Suffer to Remain”, an exhibition running March 22-July 29 at the National Art Gallery of The Bahamas. In collaboration with the British Council, “We Suffer to Remain” features the evocative video installation “The Slave’s Lament” by Scottish artist, Graham Fagen in tandem with visual responses by Bahamian artists Sonia Farmer, Anina Major and John Beadle. Fagen’s “The Slaves Lament” was exhibited at Scotland at the Venice Biennale in 2015 and “We Suffer to Remain” premise focuses on the fact that artists in postcolonial spaces have strong and embryonic reactions that can influence and build on the advancement and celebration of de-colonial art practices.