ANTWERP.- TICK TACK presents Sojourn, the first Belgian solo exhibition by Allen-Golder Carpenter.

Inspired by the Japanese anime film Evangelion: 2.0 You Can (Not) Advance, Sojourn explores cycles of life, death, and reincarnation as a framework for thinking through history and the burden of its preservation. Through a critique of monu- ments, memory, and cultural canon, Carpenter asks urgent questions: What gets to be remembered? Who decides? And what forms can remembrance take?

Developed across multiple interconnected formats—a site-specific installation, paintings, a short story, and a film—Sojourn unfolds as a fractured narrative across all three levels of TICK TACK, with each element interpreting the others. This layered structure reflects the unstable nature of historical perspective, and our collective struggle to hold onto truth in the face of erasure.

With this project, Carpenter continues to challenge how we assign value to memory, and who is permitted to leave a mark.

Sojourn was partially developed during Carpenter’s residency at TICK TACK in Antwerp.

Allen-Golder Carpenter (b.1999, Washington, D.C.) is a gender-nonconforming interdisciplinary artist, designer, poet, author, and activist. Drawing from rap culture, found objects, writing, film, and performance, Carpenter’s work interrogates memory, systemic violence, and cultural erasure—especially as experienced by Black communities in the United States.

In June 2025, Carpenter joined forces with Emmanuel Massillon for Cell 72: The Cost of Confinement at London’s Harlesden High Street Gallery, where they spent 72 hours in simulated solitary confinement behind one-way glass.

The piece powerfully confronted the realities of incarceration, highlighted racial disparities in the U.S. prison system, and committed the proceeds to prison-reform charities.

Their recent solo exhibitions include: SAME THINGS MAKE US LAUGH, MAKE US CRY (032c, Berlin, 2025), To Dream of Smoke (No Gallery, New York, 2024) and Water Memory (Galerie Kandlhofer, Vienna, 2023). Carpenter’s projects incorporate sculptural assemblages, sound, installation, and text to surface hidden histories and question who gets to be seen, heard, and preserved.

Carpenter’s practice is driven by urgency— unafraid to expose discomfort and provoke public reflection. They continue to shape critical dialogues at the intersection of cultural aesthetics and systemic injustice.