Monday, February 13, 2017

Rodell Warner: The Most Corrupting Notion Ever Captured in a Dream

Opens Thursday 16 February, 2017, from 7 pm, at Alice Yard

In recent months, artist Rodell Warner has been making a collection of painted objects exploring relationships between black and white, “as between off and on, living and non-living, figure and ground, the way 1 and 0 signal off and on in transistors / computer language.”

In mid February 2017, Warner will present The Most Corrupting Notion Ever Captured in a Dream, an installation of these new works at Alice Yard. The project opens on the evening of 16 February and runs until the 21st.

All are invited.

Friday, February 3, 2017

Sofía Gallisá Muriente and Nimah Muwakil-Zakuri: Inabordable/Unapproachable

Tuesday 7 February, 2017, from 7 pm, at Alice Yard

Puerto Rican artist Sofía Gallisá Muriente, co-director of the art space Beta-Local, is currently artist in residence at Alice Yard, where she has been in conversation with curator and writer Nimah Muwakil-Zakuri. On 7 February, 2017, they will share their respective projects that engage with complex personal histories through affective archives. The evening’s events will include an installation of archival, visual, and video materials, and a public conversation.

All are invited.

About the projects:

Sofía Gallisá Muriente’s Searching for The Shadow (Buscando La Sombra) is a long-term effort to recover the historical and affective memory of Carlos “La Sombra” Torres Meléndez, founder of the Pro-Inmates Rights Association, or los “Ñetas”, organised in prisons throughout Puerto Rico and the world. The investigation is rooted in the memories of people who knew him, combining their stories and personal archives with documents from formal archives and video works produced during the research process to generate a portrait that incorporates subjectivities, languages, and forms. Through public events, exhibitions, publications and conversations, the project serves as resource and reference, while also amplifying the implications of the subject matter and form, from a current perspective.

Gallisá Muriente is a visual artist who works mainly with video, photography, text, and installation. She earned a BFA at New York University (2008) and has participated in experimental pedagogical projects such as Anhoek School and La Práctica at Beta-Local as student, tutor, and fellow. She was awarded an emerging artist grant from TEOR/éTica in Costa Rica, where she had a solo show in 2015. Her work has also been shown in the Bronx Latin American Art Biennial; San Juan Polygraphic Triennial; at Los Angeles Contemporary Exhibitions; the Museum of Latin American Art of Buenos Aires; and the Walker Art Centre in Minneapolis. She is currently one of the co-directors of Beta-Local, an organisation dedicated to supporting critical and aesthetic thought and practices in Puerto Rico.

Nimah Muwakil-Zakuri writes: “Twenty-seven years ago, a group of young Muslim men attempted to overthrow the government of Trinidad and Tobago. Their story, that story, has been told and retold and told again, but always through the voices of the men involved (on both sides). These men, however, had wives whose stories have never really been told. They are a voiceless group who do have a story to tell. I want to explore ways in which that story can be explored and shared. How can this side of the story be told in a constructive and reconciliatory manner? What methods and approaches are best suited to exploring these difficult topics?”

Muwakil-Zakuri is an art history graduate from the Universidad de Oriente, Santiago de Cuba, and also holds an MPhil in cultural studies from the University of the West Indies, St. Augustine. She held the post of Head Curator at Trinidad and Tobago’s National Museum and Art Gallery for three years, and is now the Curator of the Central Bank Money Museum and Art Collection (2013-present). She has an interest in art archiving as well as the development of museum and art education programmes that may be used to approach difficult social topics and histories.

Friday, December 30, 2016

Ayesha Hameed: Black Atlantis/A Rough History

Monday 2 January, 2017, from 7 pm, at Alice Yard

 Still from A Rough History

Artist and writer Ayesha Hameed has been in residence at Alice Yard in late December. On January 2, 2017, she will present a series of works in sound and film. Hameed’s work explores contemporary borders and migration, the philosopher Walter Benjamin, and visual cultures of the Black Atlantic. She will be showing parts of two ongoing projects. Some of this will be a response to the space of Alice Yard and her first trip to Trinidad.

Black Atlantis is an audio-visual essay that looks at possible afterlives of the Black Atlantic: in illegal migration at sea today, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space. Black Atlantis combines two discourses: Afrofuturism and the anthropocene. While in Trinidad, Hameed has been researching a new chapter of Black Atlantis exploring the relationship between plantation economies and the anthropocene.

A Rough History (of the Destruction of Fingerprints) is a 16-mm film that considers a practice by migrants entering the EU of destroying their fingerprints to avoid detection by in the Eurodac system, alongside other histories of fingerprinting and fingerprint erasures. It looks at the coalescence of skin and data in the collection and destruction of fingerprints, at the life and circulation of the image of the fingerprint, and the different lives of the bodies that produce such images.

All are invited.

Still from A Rough History

About the artist: Ayesha Hameed’s recent presentations and performance lectures include Black Atlantis at ICA London (2015), Labour in a Single Shot at Haus der Kulturen der Welt, Berlin (2015), at The Chimurenga Library at the Showroom, London (2015), Oxford Programme for the Future of Cities, Oxford (2015), Edinburgh College of Art (2015), Goldsmiths MFA Lectures (2016), and Empire Remains (2016). A Rough History (of the destruction of fingerprints) has been screened or presented at Forensic Architecture at the House of World Cultures (Berlin) in 2014, at Social Glitch at Kunstraum Niederoesterreich Vienna (2015), at Pavillion, Leeds in 2015, at Qalandiya International Palestine Biennial (2016), at Ashakal Alwan/Homeworks Space Programme, Beirut (2016) and the Bartlett School of Architecture (2016). She is currently the Joint Programme Leader in Fine Art and History of Art at Goldsmiths, University of London.

Wednesday, December 7, 2016

Send Love inna Barrel, Kelley-Ann Lindo

Artist in Residence presentation/exhibition 
Monday December 12th at 7.00 pm.

Ebony G. Patterson, in collaboration with Alice Yard, is pleased to support the research and working residency of Jamaican artist Kelley-Ann Lindo,  taking place from November to December 2016. Lindo will present a new multi media work-in-progress, Send Love inna Barrel, this Monday December 12th at 7.00 pm. 
All are welcome.

My  artworks are explorations. They are based often on personal situations. My previous work looked into the memories and visual legacies remaining after years of having experienced repeated flooding. Recently, this has shifted to focusing on the impact of parental absence due to emigration. A new work-in-progress, Send Love inna Barrel, investigates what is referred to as the 'barrel children' syndrome within Caribbean culture.
I want to find a way to make the viewer become part of the work, as a kind of added component to make it happen. I have been experimenting with a silhouette of a young girl’s head derived from my childhood photographs. These drawings were then developed further into silkscreened multiples, wall graphics and assemblages as well as video explorations. I am using barrels as a channel through which persons can engage and communicate over a distance. I like the idea of barrels, as being both cultural and sculptural objects. - Lindo

Kelley-Ann Lindo is a Jamaican-born artist. She attained a BFA in painting from the Edna College of the Visual and Performing Art in 2015. She has worked as gallery assistant at the CAGE Gallery 2014 and as Art Counsellor at the Bellevue Hospital in 2015. She has also worked as a photography and videography assistant for freelancer Alexander Bryan in 2010-2011 and as mural assistant for Martin Harrilal in 2010. Lindo’s work has been exhibited at the Edna Manley College of Visual and Performing Arts Final Year student exhibition in 2015 and at the College’s CAGE Gallery in 2014. Lindo lives and works in Kingston, Jamaica.

Thursday, September 15, 2016

A conversation with Bisi Silva and Ingrid Schaffner

Curators of the Carnegie International

Sunday 18 September, 2016, 7.30 pm, at Alice Yard

Please join us at an informal reception to meet curators Bisi Silva and Ingrid Schaffner, who also will speak about their respective work and the Carnegie International

Bisi Silva                                             Ingrid Schaffner

Bisi Silva (Lagos, Nigeria) is an independent curator and director/founder of the Centre for Contemporary Art, Lagos. She was Artistic Director of the 10th Bamako Encounters African Biennial of Photography (2015) in Mali, Co-Curator of the 2nd Thessaloniki Biennale of Contemporary Art in Greece (2009), and Co-Curator of the 7th Dak’Art: African Contemporary Art Biennial (2006). She is the curator of Asiko (2010-) the pan-African roaming alternative art school. She co-curated The Progress of Love, a transcontinental collaboration between the Menil Collection (Houston), the Pulitzer Foundation for the Arts (Missouri), and CCA Lagos (2012–13) and J.D. ‘Okhai Ojeikere: Moments of Beauty at the Kiasma Museum of Contemporary Art, Helsinki (2011). A frequent participant in international conferences and symposia, Silva has published in journals and art magazines including Artforum, Third Text, The Exhibitionist, and Art South Africa. She sits on the editorial/advisory boards of Art South Africa, N.Paradoxa: International Feminist Art Journal, and Contemporary And. She was a member of the international jury for the Pinchuk Art Centre’s Future Generation Art Prize (2014), as well as the 55th Venice Biennale (2013)

Ingrid Schaffner (Curator, Carnegie International, 57th edition, 2018) is an American curator, art critic, writer, and educator, specialising in art history. Prior to coming to Pittsburgh, she directed the exhibition programme as chief curator at the Institute of Contemporary Art (ICA) at the University of Pennsylvania. Her work often coalesces around themes of archiving and collecting, photography, feminism, and alternate modernisms — especially Surrealism. She is the author of more than twenty books and nearly two hundred articles, reviews, and features, ranging from Salvador Dalí’s Dream of Venus to The Essential Andy Warhol, from an essay on exhibition wall text to an art history of chocolate. Born in Pittsburgh, Schaffner grew up in Los Gatos, California. She attended Mount Holyoke College and attended the Whitney Museum of American Art’s Independent Study Programme, where she was a Helena Rubinstein Curatorial Fellow. She then received a master’s degree in art history at New York University’s Institute of Fine Arts. After organising shows for the Drawing Centre, Swiss Institute, Haus der Kunst (Munich), Hayward Gallery (London), Independent Curators International, White Columns, and elsewhere, Schaffner was invited by then-director Claudia Gould to reshape and oversee ICA’s curatorial department.

Monday, September 12, 2016

out of place

Alice Yard • points in between • Granderson Lab September 2016

Out of Place, a curatorial collaboration between Alice Yard co-director Christopher Cozier and artist in residence Blue Curry, seeks to ask the following questions by instigating a series of events around Port of Spain:

How can we shift the encounter of visual objects or actions to more public spaces?

How can we alter or widen the way we understand the visual by dissolving received traditional boundaries between the object or action, its maker, and the viewer — untangling the idea of authorship?

How can we stage and engage the artistic process as a record of a creative or investigative action, as an experiential event available to everyone, rather than as a commodity, exclusively?

For announcements of events in the Out of Place programme, likely to be made on short notice, check the Alice Yard website or Facebook page.

Out of Place is part of YEAR X, a yearlong series of events reflecting on Alice Yard’s past and the possibilities of our future, running from September 2016 to September 2017.

Friday, September 2, 2016

Join us for the opening of


September 2016 to September 2017
Alice Yard and Granderson Lab

X = symbol to mark a specific location
X = sign for multiplication
X = an unknown variable
X = 10

In September 2016, Alice Yard marks its tenth anniversary as a space for conversation and experiment. Beginning in a modest Woodbrook backyard, our activities have gradually expanded through creating a small gallery space, residency quarters for visiting artists and curators, a bandroom used by dozens of musicians for rehearsal, and the adjunct space Granderson Lab in Belmont, home to a number of artists and creative collaboratives.

We began ten years ago with questions and possibilities. Our evolution has been organic and open-ended. As we consider our actions and ideas of the past decade, our instinct is less to celebrate and more to affirm our spirit of investigation and exchange, our ethos of generosity and independence.

As we prepare to begin our second decade, on Sunday 11 September, 2016, Alice Yard will host an installation by artist in residence Blue Curry, alongside September 2006, a modest exhibition drawn from our archives and documenting the moment of Alice Yard’s beginning ten years ago. We will also share details of a curatorial collaboration between Blue Curry and Alice Yard co-director Christopher Cozier, which will unfold over the coming month: a series of site-specific, public-domain projects by various artists, exploring questions of authorship, decision-making, and the artwork as event or action rather than object exclusively.

These activities will also open YEAR X, a twelve-month programme of projects and events that reflect on the archive of our past and the prospects of our future. We invite our collaborators, interlocutors, and friends to join us in imagining what might be possible in “a backyard on a small island.”

All are invited.

Souvenir, by Blue Curry (hair combs, perspex plinths, billboard posters) for VITRINE, 2014

Thursday, September 1, 2016

“Artists, this space is available”

Photograph by Nadia Huggins

“We wanted to see what was the range of creative disciplines that could be accommodated simultaneously, which is pretty much the way negotiations were forged in a traditional yard context in urban Trinidad.”

Alice Yard co-director Sean Leonard, on the influence of family generosity and Carnival productivity on his practice, and our decade-long experiment in this small backyard in Woodbrook — interviewed by Stephen Stuemplfe and published in the September/October 2016 Caribbean Beat.