Following on from the previous evening’s premiere and live-performance, Sojourn will be screened across the day on Sunday 26 April.
The film will play on loop from 11am-6pm in the Artists’ Studio on Floor 1.
Sojourn marks Allen-Golder Carpenter’s UK debut at Camden Art Centre. First presented within his largest solo exhibition to date at Tick Tack, Antwerp, the film will be shown alongside two new paintings and a debut live performance.
“Heavily inspired by the film Evangelion: 2.0 You Can (Not) Advance, Sojourn weaves these elements into a layered meditation on memory, transformation, and the instability of historical perspective.
In the film, Carpenter constructs a fractured cinematic language to explore the fragility of memory and the violence of erasure. Through a poetic interplay of image, text, sound, and spoken word, the film reflects on the cyclical nature of life and death—not as abstraction, but as lived experience shaped by systemic neglect and historical distortion. Following the titular character on their journey from the afterlife to the living world and back again, encountering several spirits while on a quest to find fragments of their lost name. Sojourn presents a layered, unresolved attempt to hold onto what history often pushes aside—especially the lives, voices, and losses of Black communities whose stories are too often overwritten.”
Allen‑Golder Carpenter is a gender-nonconforming interdisciplinary artist, designer, poet, author, and activist. Drawing from rap culture, Black radical tradition, found objects and media, Carpenter’s work interrogates memory, systemic violence, and cultural erasure—especially as experienced by Black communities in the United States.
Often taking form as immersive installations involving objects, video, sound, and performance, Carpenter’s work explores cycles of life, death, and reincarnation as a framework for thinking through history and the burden of its preservation. Recent projects have involved restructuring space through the construction of image laden fencing throughout galleries, memorializing and celebrating the life of Maryland drill rapper Goonew, transforming a gallery into a prison cell in which Carpenter lived for 72 hours, and a recent performance and screening at Schinkel Pavillion presenting a meditation on memory, transformation, and the instability of historical perspective. Carpenter’s work is layered and complex, forging paths through time and geography.
Carpenter’s musical pursuits, under the moniker Sojourn, take shape as experimental noise, hip-hop, rap, clarinet, and saxophone jazz recordings. For Carpenter, jazz is not only a musical genre but a historical medium of Black self-empowerment, improvisation, and resistance.
