tag:blogger.com,1999:blog-14666290678345266362024-03-13T10:55:08.368-04:00Alice YardNicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.comBlogger256125tag:blogger.com,1999:blog-1466629067834526636.post-56374811558565827792023-12-13T22:00:00.000-04:002023-12-13T22:00:01.263-04:00Thursday 14 December 2023 (4:30 'til)<br />24 Erthig Rd, Belmont<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQBsyP1nGinPSaQVBC0pukssLhvdoscIKuiCXYpybMUiAWSIhtcRfilnGXWhk5QMT6c60Dbi-sRfXWWsMOWfA8hG35q08SgHsvKwRX9fVj4kmwdoEs5_1tkHblNKMNAmCnSo_dSW-chQFd1Vwpy_FVbpFpMbyPxq6OYhSQ7z7wXPTncVz4DPXJTJ0HMGQ/s1913/IMG_6454.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQBsyP1nGinPSaQVBC0pukssLhvdoscIKuiCXYpybMUiAWSIhtcRfilnGXWhk5QMT6c60Dbi-sRfXWWsMOWfA8hG35q08SgHsvKwRX9fVj4kmwdoEs5_1tkHblNKMNAmCnSo_dSW-chQFd1Vwpy_FVbpFpMbyPxq6OYhSQ7z7wXPTncVz4DPXJTJ0HMGQ/s1913/IMG_6454.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1913" data-original-width="1912" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQBsyP1nGinPSaQVBC0pukssLhvdoscIKuiCXYpybMUiAWSIhtcRfilnGXWhk5QMT6c60Dbi-sRfXWWsMOWfA8hG35q08SgHsvKwRX9fVj4kmwdoEs5_1tkHblNKMNAmCnSo_dSW-chQFd1Vwpy_FVbpFpMbyPxq6OYhSQ7z7wXPTncVz4DPXJTJ0HMGQ/s320/IMG_6454.PNG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>IT GO HAVE TO ADJUST.</b></div><div><b>ON LANGUAGE AS PARASITE</b></div><div><div><br /></div><div><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;">IT GO HAVE TO ADJUST. ON LANGUAGE AS PARASITE is a living curatorial endeavour by SAVVY Contemporary deliberating on the parasitic nature of language.</span></div><div><span style="background-color: white;"><br style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;" /></span><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;">If language is a parasite, we need to evolve one that is made up of a plurality of voices that we wish to see act for a shared future. If we are “participants in the future of our languages” (Ocean Vuong), how can we make space for more variants of influences in order to facilitate the right climate and conditions for subversive, liberating practices within art and publishing? If language is there to make space for our survival, can we find procedures for optimising our communication to aid the creation of networks that can parasitize towards the proliferation and development of liberating practices? </span><br style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;" /><br style="caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;" /><span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: Verdana; font-size: 12px;">SAVVY Contemporary is an artistic organisation, discursive platform, place for good talks, foods and drinks – a space for conviviality and cultural plurilog. As a public and independent organism in perpetual becoming, it is animated by around 25 members and a network of collaborators, co-creating community and communities it breathes with. SAVVY Contemporary situates itself at the threshold of the West and the non-West to understand their conceptualisations, ethical systems, achievements, and ruins. It develops tools, proposes perspectives and nourishes practices towards imagining a world inhabited together. </span></div></div>Kriston Chenhttp://www.blogger.com/profile/05623455189687428867noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-75637226843771642462023-11-20T21:44:00.007-04:002023-11-20T21:46:49.835-04:00The things I cannot say<p>Friday, 24 to Sunday, 26 November 2023, 5:30 - 9pm<br />24 Erthig Rd, Belmont<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioLeGQpHSAA9rIDWtHBc3aKZl1WQcvHd7A70v3O1zrOcrWUFaILGgtJydMkpfC4iSW6HdL8DMc56xxPmargxJy2eCPdrVwkQ0AKCQwaC3dbtWUTCyLJD4AT46D3lRoSyTTt1cilUjdsyZWCuFfJ1K6AbRolaTFO6HPwTX2QUO5K30KtYbI69Eo9QlJhTg/s750/ezgif.com-gif-maker-3.gif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioLeGQpHSAA9rIDWtHBc3aKZl1WQcvHd7A70v3O1zrOcrWUFaILGgtJydMkpfC4iSW6HdL8DMc56xxPmargxJy2eCPdrVwkQ0AKCQwaC3dbtWUTCyLJD4AT46D3lRoSyTTt1cilUjdsyZWCuFfJ1K6AbRolaTFO6HPwTX2QUO5K30KtYbI69Eo9QlJhTg/w320-h400/ezgif.com-gif-maker-3.gif" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><b>The things I cannot say</b></div><div><b>Mahrinna Shareef</b><br /><div><br /></div><div>‘The things I cannot say’ is a digital media exhibition at Granderson Lab in Belmont in collaboration with North Eleven, where Marinna Shareef explores her personal relationship with enmeshment, specifically the cycle some indo-Caribbean families can develop with their children, reflecting on strictness, lack of control and boundaries. The work deep dives into wanting to make a change and ‘stop the cycle’, something we often hear from children when addressing their parents when coming into adulthood. What does entail when our own brains wont let us remember our trauma? Shareef tries to ‘break the cycle,’ in her own way by performing a sort of funeral service for the things she cannot say, and says her goodbyes to this sort of hesitance. She simultaneously performs this Caribbean ritual for her grandmother in dealing with her death, and reflects on how she dealt with both trying to manage remembering her trauma while losing a motherly figure.</div><div><br /></div><div>This work was created during Marinna Shareef’s The Caribbean Digital Scholarship Collective x Alice Yard’s Virtual Artist Residency in 2022. Thank you to everyone who has contributed to make this exhibition possible.</div></div>Kriston Chenhttp://www.blogger.com/profile/05623455189687428867noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-6530853161688550192023-06-13T17:42:00.007-04:002023-11-20T21:47:04.069-04:00Transmission/distortion: A re-reading of C.L.R. James’ The Black JacobinsSaturday, 10 June 2023, 12 noon to 5 pm*<br />24 Erthig Rd, Belmont<br /><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg0QxGbGa8pp-H-qkEI541tOEQbppHiaPML4cdKKrKpDgA7xEquB4fR1HR8Hs98_ZtbLjDXKOUkjlbaEQMR7rDb2swa5ZEWnpdMGD0PAfm0mlPGUMz093Z5IysBElTuSm_-qGRFpcQkQ2keBsgwqkH8JdRIO4O41ON6A3SPQfNVnnw_J6rUl9XGou3r"><img src="https://blogger.googleusercontent.com/img/a/AVvXsEg0QxGbGa8pp-H-qkEI541tOEQbppHiaPML4cdKKrKpDgA7xEquB4fR1HR8Hs98_ZtbLjDXKOUkjlbaEQMR7rDb2swa5ZEWnpdMGD0PAfm0mlPGUMz093Z5IysBElTuSm_-qGRFpcQkQ2keBsgwqkH8JdRIO4O41ON6A3SPQfNVnnw_J6rUl9XGou3r=w400-h400" /></a><br /><br /><div> <b>Transmission/distortion:<br />A re-reading of C.L.R. James’ The Black Jacobins</b><br /><br />This upcoming Saturday, June 10th, you are cordially invited to join us at Granderson Lab for a re-reading session of C.L.R. James' renowned work, "The Black Jacobins," in the company of video artist and filmmaker Ésery Mondésir.<br /><br />"When I arrived here three weeks ago, I was perplexed by the enthusiastic smiles that greeted me when people learned I was Haitian. It wasn’t the usual “poor Haiti” I have faced many times in other settings. Instead, the folks I encountered associated my homeland with ideas of pride, freedom, and justice. It struck me as peculiar until Christopher [Cozier] reminded me that C.L.R. James hailed from this very land. Suddenly, it dawned on me that Haiti, as both an idea and perhaps an ideal, had long been embedded within the ‘Trini imaginaire.’<br /><br />As author Millery Polyné emphasizes in his work 'The Idea of Haiti,' there is no singular, unified notion of Haiti. While it may symbolize freedom, justice, and equality for the “the wretched of the earth,” the “brutes,” and the “rebels,” Haiti continues to stand as a "monstrous anomaly" in the face of colonialism, imperialism, and white supremacy to paraphrase Nick Nesbit. <br /><br />Which particular ideas of Haiti have permeated and continue to permeate Trinidad and Tobago? How do ideas diffuse through the intricate web of social and political contradictions? What are the mechanics of transmission or distortion of transformative ideas? How do we leap from revolutionary ideas to liberatory gestures that generate new ideals? Can we go beyond criticality? These questions and others will shape my residency at Alice Yard this spring. <br /><br />On Saturday, we encourage you to bring your copy of 'The Black Jacobins.' We will engage in collective readings and invite you to share your favourite passages.<br /><br />All are welcome. <br /><br />*Readings may be recorded.</div>Kriston Chenhttp://www.blogger.com/profile/05623455189687428867noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-50876020575305067022023-06-02T11:01:00.014-04:002023-06-02T11:09:39.896-04:00Defying the Margins<p><i style="caret-color: rgb(51, 51, 51); color: #333333; font-family: Trebuchet, "Trebuchet MS", Arial, sans-serif; font-size: 13px;">Friday 3 June, 2023 / 6 to 10 pm / </i><i style="caret-color: rgb(51, 51, 51); color: #333333; font-family: Trebuchet, "Trebuchet MS", Arial, sans-serif; font-size: 13px;">Granderson Lab</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYL9JO1MEs6i9adhcc4zQQf4Ap5_FiKwAEUAozDj-Y8igAeXo-AbTEdBQZoqWGPmXLKQEXU6gPg5uleORPx8HaZBxe8_nBJ9bI6kEF6urqtHBi-t_6GEguXiEclnjiEDNBgTT3XBylv_-EY8naoFupjYw07iAvwFMfPplYHlcGZDvFtsrl0Kxc5uuL/s4032/IMG_3354.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="545" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYL9JO1MEs6i9adhcc4zQQf4Ap5_FiKwAEUAozDj-Y8igAeXo-AbTEdBQZoqWGPmXLKQEXU6gPg5uleORPx8HaZBxe8_nBJ9bI6kEF6urqtHBi-t_6GEguXiEclnjiEDNBgTT3XBylv_-EY8naoFupjYw07iAvwFMfPplYHlcGZDvFtsrl0Kxc5uuL/w409-h545/IMG_3354.jpeg" width="409" /></a></div><div class="separator" style="clear: both; text-align: left;"><i>Defying the Margins</i> brings together works by established and emerging artists, designers, and writers from OCAD University in Toronto, Canada and the artistic community at Alice Yard in Port of Spain, Trinidad. Defying the Margins embraces interdisciplinary approaches that explore the Caribbean as a space rather than a place, grounded in community and land-based practices. To defy the margins is to question hierarchies of power and influence. Whether the margin functions to keep something in or out, how can we reposition ourselves to see beyond these pre-determined boundaries? The artists here showcase completed and developing works related to ritual and performance, collective identity and diaspora, as well as the natural, artificial, conceptual, and sonic [environs/environments] of Alice Yard and Port of Spain. Some artists focus on the body as their medium, while others experiment with a variety of technical processes and their creative applications. <i>Defying the Margins</i> facilitates a collaborative exchange between Alice Yard and OCAD University, inviting students and professional practitioners into the same space for a period of two weeks. The resulting exhibition is the product of this exchange, which has positive implications for all participants on a social, cultural, and artistic level.</div><p><br /></p><p>Curated by Madalyn Shaw. With special thanks to Christopher Cozier and Esery Mondesir for organizing.</p>Kriston Chenhttp://www.blogger.com/profile/05623455189687428867noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-73410029526668754742023-05-04T16:34:00.000-04:002023-05-04T16:34:30.699-04:00Krish Nathaniel: Several Hands<p><i>Friday 5 May, 2022, 6.30 to 8.30 pm<br />Granderson Lab</i><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RVH-GSFXX0aj7QWozvycOlO2CJQAVmJ53z2mSzs38bQs7mAJ8HVywdSRioEWfNWm-BEL_VpdUkGVb_8xwEv147TM0xhJQB5pHeI7abX-bXjcL8koAoqfPV-gfEViUsvVpyY50kBvkECx7RgZ2DtVNbWqWRsvx72Bs7jKlmyTcrCzVezWf9y0YKuE2A/s400/Photo%20Ident.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RVH-GSFXX0aj7QWozvycOlO2CJQAVmJ53z2mSzs38bQs7mAJ8HVywdSRioEWfNWm-BEL_VpdUkGVb_8xwEv147TM0xhJQB5pHeI7abX-bXjcL8koAoqfPV-gfEViUsvVpyY50kBvkECx7RgZ2DtVNbWqWRsvx72Bs7jKlmyTcrCzVezWf9y0YKuE2A/s16000/Photo%20Ident.jpg" /></a></div><p><br />Artist-in-residence Krish Nathaniel presents a short exploration on creolised East Indian culture, spatially exploring the link and divergence between an “origin” culture and the Indo-Trinidadian diaspora.<br /><br />Using the visual and sound culture of Hosay as his inception point, the works reflect on presence within the landscape and connections to place. <br /><br />Pulling at loose threads by challenging notions of fidelity and dogma, Nathaniel’s ongoing research seeks to bring to light moments of playfulness, inclusivity, and new traditions within diasporic histories, as a way to strengthen future creolised expression.<br /><br />All are invited.</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-42891800041367218862022-12-09T12:31:00.013-04:002022-12-09T13:30:23.895-04:00Incubator Open Studio<p><i> Friday 9 and Saturday 10 December, 2022, at Granderson Lab</i></p><p><i> </i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1QAVIj_Rtiv4j8zARtxpOhewqfXSaWJffGcK46n061nfd-i3_ZA8swaPgV-MdoFKfK14i-adZZ4KzgLI1GM8AFPwepn3MGK2-EucsdmpsHfLVHigTMnQcyoTSVcJIE4yZaCyGezrI5OvQXyDLxfo7KoJHYvCadVnB8p5a0Ldx4ANICndFb-VGWFZo/s480/ezgif.com-gif-maker.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="270" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1QAVIj_Rtiv4j8zARtxpOhewqfXSaWJffGcK46n061nfd-i3_ZA8swaPgV-MdoFKfK14i-adZZ4KzgLI1GM8AFPwepn3MGK2-EucsdmpsHfLVHigTMnQcyoTSVcJIE4yZaCyGezrI5OvQXyDLxfo7KoJHYvCadVnB8p5a0Ldx4ANICndFb-VGWFZo/w360-h640/ezgif.com-gif-maker.gif" width="360" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><i> </i></div><p></p><p></p><p></p><p></p><p>Over a four-week period, artists Bianca Peake, Elechi Todd, and Khaffi Beckles have shared an improvised studio space at Granderson Lab, engaged in work that serves their individual practices as well as the resulting collective discourse. While sharing the resources of the space, they aimed to intentionally create communal experiences through shared meals, reading, discussion, and watching films/videos.<br /><br />On <b>Friday 9 and Saturday 10 December, from 6 to 9 pm</b> each evening, the artists are hosting an Open Studio event to share the results of this project. The work shown in this shared space is the product not of shifting focus on process, learning, observing and sharing. <br /><br />The Incubator experience is the product of ongoing discourse on the value of collective making and shared spaces and thought. As both an exercise and event, it challenges the notion of solitary studio practice, where exchanges take place intrapersonally, and instead provides an exploratory invitation to create and exchange cultural, artistic, and intellectual knowledge as a group.<br /><br />As an additional core function of the Incubator experience, the artists have engaged in documentation and reflection through writing. Cataloging and sharing experiences has operated not just as a means of creating accessibility to artistic practice, but also of demystifying the process of creating<br />knowledge.<br /><br />All are invited.<br /></p><p><br /></p><p><br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-83377066532658893912022-11-11T07:09:00.003-04:002022-11-11T07:10:22.805-04:00Hackney nongkrong<p><span style="font-size: large;">Alice Yard at Ruby Cruel / documenta fifteen</span><i> </i></p><p><i>Tuesday 15 November, 2022 / 6 to 9 pm</i><br /></p><div dir="ltr"></div><div dir="ltr"></div><div dir="ltr"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs50Vt-B7YEUeGyVoa1RPhgOPnm19GtoMddNpq789TO4x5zQTW4xFxaj_iVU4gxBG1ztKtQ_c8nQykOG3UkXnydp3MwocwLwAKK3QkCpTCvi8OXmTXvcXQm47--KQSutI5hbV9r_cJ1iH8S9ElrmdPRPRqNKDlStnyfyO1l2StyqQO4aarGB0IXZn8aA/s400/HackneyNongkrong%20website.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="300" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs50Vt-B7YEUeGyVoa1RPhgOPnm19GtoMddNpq789TO4x5zQTW4xFxaj_iVU4gxBG1ztKtQ_c8nQykOG3UkXnydp3MwocwLwAKK3QkCpTCvi8OXmTXvcXQm47--KQSutI5hbV9r_cJ1iH8S9ElrmdPRPRqNKDlStnyfyO1l2StyqQO4aarGB0IXZn8aA/s16000/HackneyNongkrong%20website.jpg" /></a></div> </div><div dir="ltr">The
100 days of documenta fifteen are over, but Alice Yard and its
collaborators are still thinking and talking about what we did and saw
and learned, the friends and the art we made.<br /><br />On Tuesday 15
November, from 6 to 9 pm, we’ll be at Ruby Cruel at 250 Morning Lane,
Hackney, London, for a post-documenta nongkrong — that’s the Indonesian word for
hanging out — conversing, sharing some fragments and traces of our
documenta fifteen activations, maybe some new activations from old
friends, and hoping to make some new friends too.<br /><br />All are invited.</div><div dir="ltr"> </div>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-20018321570075461832022-10-08T08:12:00.000-04:002022-10-08T08:12:33.658-04:00Belmont nongkrong<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /><i>Wednesday 12 October, 2022 / from 7 pm at Granderson Lab, Belmont</i></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_rYKvC2hiwizWoAJbVyNBDyCsKEzBPllOPQFZKJhfqnRCKKAihd6u33Asb_OBmewLJxRNji2n_0j5xuiRxci1pB2-02_mshsajmzaPHzYa7WXKOvJ6cBdbldBEYCwLf3mh2ZUqhTZyEC9jV3Fir3ZWzOFNOCxFaSzDvRX7Pl5GzT6m7UevLWAI8dpg/s400/alice%20yard%20Bench_Blk%20copy.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="302" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_rYKvC2hiwizWoAJbVyNBDyCsKEzBPllOPQFZKJhfqnRCKKAihd6u33Asb_OBmewLJxRNji2n_0j5xuiRxci1pB2-02_mshsajmzaPHzYa7WXKOvJ6cBdbldBEYCwLf3mh2ZUqhTZyEC9jV3Fir3ZWzOFNOCxFaSzDvRX7Pl5GzT6m7UevLWAI8dpg/s16000/alice%20yard%20Bench_Blk%20copy.jpg" /></a><i> </i><br /></i></div><p></p><p></p><p>We learned a new word in the documenta lumbung. <a href="https://documenta-fifteen.de/en/glossary/?entry=nongkrong">Nongkrong</a>, Indonesian for “hanging out”, means more or less the same as liming.<br /><br />documenta fifteen is over. What did we see and hear, what did we learn, who did we meet? Did we “make friends, not art”? Or did we make friends <i>and</i> art?<br /><br />On Wednesday 12 October, from 7 pm, we’ll be at Granderson Lab for a post-documenta nongkrong — conversing, reflecting, spending time together, and sharing some fragments and traces of the various activations Alice Yard and our visiting artists made in Kassel during the 100 days of documenta fifteen. This is also a moment to belatedly commemorate our sixteenth anniversary in September, and continue imagining the way ahead with friends old and new.<br /><br />All are invited.<br /><br /><br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-57605807775541187052022-09-13T16:33:00.001-04:002022-10-07T16:40:23.009-04:00Proximities 3: The sky has no limit / El cielo no tiene límite<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /><i>Presented in collaboration with the Third Horizon Film Festival</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMXsLyyalA74NtK1S-EXqr8PpwEzgyiyUOspJbvOJnuriL2DrQw8Iu9KK_YjGZsLKwxRvkIy1qbbtheO-oK_LFOyeoULqbS64NmVeKps8-SwtMiZD9gbJ4KhkAVFRGZqfvahf2WTDVWYkEyl7X8Hp3dsxncOr9MaUNSHi8OoarrWOFsmGEMbbT4OCSw/s400/manosplaya.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="300" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMXsLyyalA74NtK1S-EXqr8PpwEzgyiyUOspJbvOJnuriL2DrQw8Iu9KK_YjGZsLKwxRvkIy1qbbtheO-oK_LFOyeoULqbS64NmVeKps8-SwtMiZD9gbJ4KhkAVFRGZqfvahf2WTDVWYkEyl7X8Hp3dsxncOr9MaUNSHi8OoarrWOFsmGEMbbT4OCSw/s16000/manosplaya.jpg" /></a></div><p></p><p><i><span style="font-size: x-small;">Still from Celaje (Cloudscape), by Sofía Gallisá Muriente</span></i></p><p></p><p></p><p> </p><p>From 12 to 21 September, Alice Yard and the Third Horizon Film Festival will present an installation of three short films/videos at the documenta fifteen venue WH22, screening in a continuous loop from 10 am to 8 pm daily. These works, by filmmakers with roots in the Caribbean region (Trinidad and Tobago, Puerto Rico, French Guiana), investigate ideas about territory and belonging, family and self-definition, and the ongoing legacies of colonialism — all making use of found or repurposed footage.<br /><br />Featuring:<br /><br /><i>Islands</i>, Richard Fung (9 mins)<br /><i>Cloudscape</i>, Sofía Gallisá Muriente (41 mins)<br /><i>Listen to the Beat of Our Images</i>, Audrey and Maxime Jean-Baptiste (15 mins)<br /><br />This is the third in the <i>Proximities</i> series of video works presented by Alice Yard, exploring relationships within the Caribbean region, following previous editions in 2010 and 2015.</p><p>Update: <i>Proximities 3</i> will be reinstalled at WH22 for the final weekend of documenta fifteen, 24 and 25 September <br /></p><p> </p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-65848804701125899352022-09-12T16:01:00.002-04:002022-10-07T16:04:53.945-04:00 Ada M. Patterson, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8XDu1KWNLicfQ5E_g303AFbQoi0CktGwTCtEfAleZP7EeY2wzHsiu2_vQMniKLEaurj9IVwD4T203W69VX2dkRA49YWnXZnuokcxjqFkePhchdHbDvuzXtBWDhakt-r3IaNSUiYX7eXib-O640N3nkKoWd5rxEagfhNgLgcP9X5DmHnXM2H-4ss9GXA/s536/Ada%20-%20Portrait%20-%20photo%20by%20Alessandro%20Sala,%20courtesy%20Centrale%20Fies.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="536" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8XDu1KWNLicfQ5E_g303AFbQoi0CktGwTCtEfAleZP7EeY2wzHsiu2_vQMniKLEaurj9IVwD4T203W69VX2dkRA49YWnXZnuokcxjqFkePhchdHbDvuzXtBWDhakt-r3IaNSUiYX7eXib-O640N3nkKoWd5rxEagfhNgLgcP9X5DmHnXM2H-4ss9GXA/s16000/Ada%20-%20Portrait%20-%20photo%20by%20Alessandro%20Sala,%20courtesy%20Centrale%20Fies.jpg" /></a></div><p><br /><a href="https://www.adampatterson.co.uk/">Ada M. Patterson</a> is Alice Yard’s ninth artist in residence at documenta fifteen. From 11 to 25 September, 2022, she is based at WH22 Kassel. During her residency, she will draft compositions for an upcoming music video installation, using steel pan. As she rehearses in her room in the private living quarters, visitors may be able to hear fragments of pan music trickling into the exhibition space.<br /><br />Within the exhibition space, there will be a different textile shared daily from her series <i>Kanga for the Present</i>, gifting each day with a new message. <br /><br />=<br /><br />Ada M. Patterson (b. 1994, Bridgetown) is an artist and writer based between Barbados, London, and Rotterdam. She works with masquerade, performance, poetry, textiles, and video, looking at the ways storytelling can limit, enable, and complicate identity formation. Her recent work considers grief, elegy writing, and archiving as tools for disrupting the disappearance of communities queered by different experiences of crisis. Patterson was the 2020 NLS Kingston Curatorial and Art Writing Fellow. </p><p></p><p><i>Photo: Alessandro Sala, courtesy Centrale Fies</i><br /><br />#AliceYardD15 #ayardexchange #documentafifteen<br /><br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-60886084441600522592022-08-31T15:45:00.003-04:002022-10-07T16:06:35.240-04:00 Bruce Cayonne, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4wnLgek-k_bpnkp9UmV2atWCG-YdIKKRZTIy7oMQoevO9yxH7gan7F2DzgLiuIp2eRCd8Iqg0mN34v7rsMGOP4H6yOTKk8IaWU2Vvd9aFFiS9cTq1ZjCk-UQ1SmEA4mYYbPNaJHINm6EXR5m5B5HBhOWO1EVx-3a23ljx7M49z3f5krcD9cSJova1iA/s400/D15_BruceCayonne_Trafo_03.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="300" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4wnLgek-k_bpnkp9UmV2atWCG-YdIKKRZTIy7oMQoevO9yxH7gan7F2DzgLiuIp2eRCd8Iqg0mN34v7rsMGOP4H6yOTKk8IaWU2Vvd9aFFiS9cTq1ZjCk-UQ1SmEA4mYYbPNaJHINm6EXR5m5B5HBhOWO1EVx-3a23ljx7M49z3f5krcD9cSJova1iA/s16000/D15_BruceCayonne_Trafo_03.jpg" /></a></div><p><br /><a href="https://fetesign.com/">Bruce Cayonne</a> is Alice Yard’s eighth artist in residence at documenta fifteen. From 29 August to 10 September, 2022, he is based between WH22 and Trafo Haus in Kassel, collaborating with other artists and collectives to make hand-painted signs for various activations of the documenta fifteen lumbung.<br /><br />=<br /><br />Bruce Cayonne is an artist and sign painter based in Arima, Trinidad. He has been painting fete signs for the past thirty years. His iconic work has come to define the visual landscape and history of Trinidad and Tobago with his signature fete style — bold, precise lettering against colourful and vibrant gradient backgrounds, each sign hand-painted on hardboard and hammered onto lightposts. <br /><br />Over the past three decades, Cayonne has produced thousands of signs and has collaborated with numerous artists and musicians, such as DJs like Kabuki, Dr Hyde, Howie T, Foreigner, and Nyahbinghi, and visual artists like Christopher Cozier (T&T), Blue Curry (UK/Bahamas) and ds4si/Intelligent Mischief (USA).<br /><br />#AliceYardD15 #ayardexchange #documentafifteen<br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-63128269311530788802022-08-16T17:38:00.002-04:002022-08-18T17:41:39.306-04:00 Michelle Eistrup, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUYbuPFGr-xKTA8T_KRNukY_ynDDaBXU_S2vD1HftocISUdxlna-6brqylf6Et-dZhyX6MdzhOryacsms2MUDSMeZeOuHUXBFjCUHTbuVahUvcQ40XvmVT4uJ3aWjJo_TyVqTOu20gBFmr8-e5HTXsNhbf5mF43BRUPm3ELP1GEfMG67fz19xQUyfrQ/s400/MICHELLEistrup_portr%C3%A6t.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="266" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUYbuPFGr-xKTA8T_KRNukY_ynDDaBXU_S2vD1HftocISUdxlna-6brqylf6Et-dZhyX6MdzhOryacsms2MUDSMeZeOuHUXBFjCUHTbuVahUvcQ40XvmVT4uJ3aWjJo_TyVqTOu20gBFmr8-e5HTXsNhbf5mF43BRUPm3ELP1GEfMG67fz19xQUyfrQ/s16000/MICHELLEistrup_portr%C3%A6t.jpg" /></a><br /></div><p> </p><p><a href="https://www.michelleeistrup.com/Artist.asp?ArtistID=32148&Akey=FGYAF5RY">Michelle Eistrup</a> is Alice Yard’s seventh artist in residence at documenta fifteen. From 14 to 28 August, 2022, she is based at WH22 in Kassel. While in Kassel, she is organising a programme of discussions and meetings around her ongoing Bridging Art + Text Incubator (BAT INK) project. She has invited a small group of artists, researchers, community representatives, and curators to exchange deep knowledge, collaboration, and scientific and artistic approaches. “On the brink of disaster, future scenarios must envision rediscovered life-giving and sustainable cultural and spiritual practices concerning nature.” <br /><br /><a href="https://documenta-fifteen.de/en/calendar/bridging-art-and-text-incubator-bat-ink-performance-presentation-and-liming/">Find more information on BAT INK here.</a><br /><br />=<br /><br />Michelle Eistrup is a visual artist, and initiator of artistic collaborations who lives in Copenhagen, Denmark. Eistrup’s art incorporates themes of identity, corporeality, faith, memory, and post-colonialism, where her transnational background (Danish, Jamaican, American) is sometimes a point of departure. Rooted in a vibrant global arts community, she has exhibited internationally and organised events that facilitate in-depth dialogue and research between artists, writers, and curators, for the overall purpose of encouraging a more integrated, sensitive, and equitable creative exchange.<br /><br />She curated BAT, Bridging Art and Text Workshop and Seminar, together with coordinator Annemari B. Clausen, and <i>BAT</i> (3-volume publication, 800 pp) (2012-2018).</p><p>#AliceYardD15 #ayardexchange #documentafifteen <br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-31753902409877167862022-08-01T17:25:00.006-04:002022-08-18T17:29:58.503-04:00 Versia Harris, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxiAZcI4j2XjREkMXrhywwjqr2FNUZl2Ah9p4Nc7O4vh6hoEFQGlM88RLRNfBWU0LCOh0zgKARj6FMUGDIXWDpw3mBSg653AQnvi5-Ockf1FRT3b_RrGOQkTcrErwyYQ4EH53BIr7xGld-h3_hsyv5IOEHtc6DC0V3eRApTWn59AxQaqd1OxYku7zNA/s400/versia%20harris.jpeg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="269" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxiAZcI4j2XjREkMXrhywwjqr2FNUZl2Ah9p4Nc7O4vh6hoEFQGlM88RLRNfBWU0LCOh0zgKARj6FMUGDIXWDpw3mBSg653AQnvi5-Ockf1FRT3b_RrGOQkTcrErwyYQ4EH53BIr7xGld-h3_hsyv5IOEHtc6DC0V3eRApTWn59AxQaqd1OxYku7zNA/s16000/versia%20harris.jpeg" /></a></div><p><br /><a href="https://www.versiaharris.com/">Versia Harris</a> is Alice Yard’s sixth artist in residence at documenta fifteen. From 31 July to 13 August, 2022, she is based at WH22 in Kassel. Her video works <i>They Say You Can Dream a Thing More Than Once</i> (2013) and <i>A Dream Is a Wish Your Heart Makes When You’re Awake</i> (2012) are installed at the <a href="https://documenta-fifteen.de/en/venues/grimmwelt-kassel/">Grimmwelt</a> venue for the duration of documenta fifteen. During her time in Kassel, she will produce a series of small drawings and sculptures that intervene and intersect with the Grimmwelt museum space, “drawing attention to secret, discreet, or hidden worlds that may exist parallel to our current reality.” She will also be joined by artists Tessa Mars and Razia Barsatie for a series of informal conversations and collaborations around parallel themes and concerns in their respective bodies of work.<br /><br />=<br /><br />Versia Harris (b. 1990, Bridgetown) is an interdisciplinary artist who lives and work in Barbados. Harris has done a number of residences in the Caribbean and North and South America, including Vermont Studio Center and Alice Yard, Trinidad, and has shown in multiple countries including the UK, China, Nigeria, Russia, Germany, Aruba, and the US. Her first solo show in 2015 in Barbados was titled This Quagmire. She was awarded a Fulbright Laspau Scholarship in 2017 and received her MFA at Cranbrook Academy of Art, Michigan USA in May, 2019, where she also earned a Mercedes-Benz Financial Services New Beginnings Award.</p><p>#AliceYardD15 #ayardexchange #documentafifteen <br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-40170025351736350762022-07-21T21:58:00.004-04:002022-07-24T22:01:21.152-04:00 Shannon Alonzo, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoougpOYbFZkVkCQDoF2tRLr1foZDXe5PKbL6A2aqKaLPfVEHcuQan8G4QxpCpKcysm5yvJ5GKgwtN-uwvclcYoelsr4qnLycFyw_flwl6PNpvzqc99EN0WrcNkvfKLnwjI57u7X63HQOSPe7LEprq4VLaympPkpfEFqrVz5ZyqCzvu7k-gGb9sf4W6Q/s400/shannon%20for%20blog.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="267" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoougpOYbFZkVkCQDoF2tRLr1foZDXe5PKbL6A2aqKaLPfVEHcuQan8G4QxpCpKcysm5yvJ5GKgwtN-uwvclcYoelsr4qnLycFyw_flwl6PNpvzqc99EN0WrcNkvfKLnwjI57u7X63HQOSPe7LEprq4VLaympPkpfEFqrVz5ZyqCzvu7k-gGb9sf4W6Q/s16000/shannon%20for%20blog.jpg" /></a><br /></div><p> </p><p><a href="https://www.shannonalonzo.com/">Shannon Alonzo</a> is Alice Yard’s fifth artist in residence at documenta fifteen. From 18 to 30 July, 2022, she is based at WH22 in Kassel. During this time she will engage in a series of projects which are an extension of work created during her residency at Granderson Lab in 2020, investigating space and collective action in Trinidad Carnival. This will include the video installation <i>Subterranean Sentiments of Belonging</i>, which documents the erasure of three charcoal and graphite murals created over a period of one year on a single wall at Granderson Lab in Belmont, Trinidad. <br /><br />=<br /><br />Shannon Alonzo (b. 1988, St. Joseph, Trinidad and Tobago) is an interdisciplinary artist focusing primarily on drawing, soft sculpture, and performance. Her practice explores themes of collective belonging, place attachment, and the significance of Carnival ritual to the Caribbean consciousness. She holds a BA from London College of Fashion and a MRes Creative Practice from the University of Westminster. She has exhibited work at Alice Yard, Loftt Gallery, and Black Box in Trinidad and Tobago, Ambika P3 and London Gallery West in the UK, and the Atlantic World Art Fair on Artsy.</p><p>#AliceYardD15 #ayardexchange #documentafifteen <br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-13003474049120799162022-07-12T18:48:00.005-04:002022-12-11T12:08:53.493-04:00 Hand to hand<p style="text-align: left;"><span style="font-size: large;"><span class="im">Alice Yard / documenta fifteen</span></span></p><div style="text-align: left;"><span class="im"></span><i><span class="im">Three activations and a reading by four writers</span><br /><span class="im"></span><span class="im">Saturday 16 July, 2022 / from 6 pm TT time at Granderson Lab, Belmont</span></i></div><div style="text-align: left;"><i><span class="im"> </span></i></div><div style="text-align: left;"><i><span class="im"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWCNI7YXqMTWwXKiwr6aERzNv8yKeFWDddUiJwG7uk-Cbj-ET7uLFuOmnX98qId5A7e2_PIAGOmG6YZDcOK1KLxDUBAOLroEWxp1APKWKfrXCJ_KPxVDlB0u36P3Ajuplv2ULRZ8Kv7kGrqiKXf4wgJWYHVeCWyOj75Xdxyq-jx9CiMvtGt4fsD5e1g/s400/score%20for%20a%20procession%20kassel.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWCNI7YXqMTWwXKiwr6aERzNv8yKeFWDddUiJwG7uk-Cbj-ET7uLFuOmnX98qId5A7e2_PIAGOmG6YZDcOK1KLxDUBAOLroEWxp1APKWKfrXCJ_KPxVDlB0u36P3Ajuplv2ULRZ8Kv7kGrqiKXf4wgJWYHVeCWyOj75Xdxyq-jx9CiMvtGt4fsD5e1g/s16000/score%20for%20a%20procession%20kassel.jpg" /></a></div><br /><span style="font-size: x-small;"> Marlon Griffith’s </span></span></i><span style="font-size: x-small;"><span class="im">Score for a Procession</span><i><span class="im"> activated at WH22, Kassel</span></i></span><br /></div><div style="text-align: left;"><span class="im"></span></div><div><span class="im"></span></div><div><span class="im"><br /><i> </i></span></div><div><span class="im"><a href="https://holobiente.org/the-book-of-the-ten-thousand-things/"><i>The Book of the Ten Thousand Things</i></a>,
a project by documenta fifteen participants <a href="https://documenta-fifteen.de/en/lumbung-members-artists/la-intermundial-holobiente/">La Intermundial Holobiente</a>,
is a polyphonic publication written and edited by fourteen writers and
artists from Argentina “to imagine and give shape to a posthuman,
non-anthropocentric world where anything and everything is taken into
account.” Audience members are invited to explore and interact with the
book “as an open archive.”<br /><br /><a href="https://www.marlongriffith.com/score-for-a-procession/"><i>Score for a Procession</i></a> is a
participatory drawing project conceived by artist Marlon Griffith,
connecting people across time and space through the shared phenomenon of
a heartbeat.<br /><br /><a href="https://aliceyard.blogspot.com/p/carter-drawings.html"><i>Carter Drawings</i></a>, instigated by Nicholas
Laughlin, invites participants to enter a poem by the late Martin Carter
by transcribing its lines in their own handwriting, creating a tangible
archive of “readings” of the poem that are also literal re-writings.<br /><br />These
three projects, linked by a process of hands-on engagement, will be
activated at Granderson Lab on the evening of Saturday 16 July, and the
results will later travel to Kassel, Germany, to be presented as part of
Alice Yard’s participation in documenta fifteen.<br /><br /></span>On that evening we will also host an informal, intimate reading by four T&T-born writers: Katherine Agyemaa Agard (<i>of colour</i>), Desiree C. Bailey (<i>What Noise Against the Cane</i>), Arielle John (<i>Containing in Itself All Sweetness</i>), and Shivanee Ramlochan (<i>Everyone Knows I Am a Haunting</i>), produced in collaboration with <a href="https://novelniche.net/">Novel Niche</a> and the <a href="https://www.bocaslitfest.com/">Bocas Lit Fest</a>.<span class="im"><br /><br />All are invited. Audience members are asked to wear face masks and follow COVID-19 safety protocols.</span></div>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-7335601953948177992022-07-04T21:00:00.000-04:002022-07-04T21:00:21.894-04:00 Luis Vasquez La Roche, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07G3WuWBxOYOVamvDvF1JEC7KIjDwg1dNvGDGYf4hkHJPruK9OrJXhEyzYdDx30Gr4sUyhYC4vzuMeOfS-dG9GALX1_uswWK8kZ0heWG93J4D8VN_HGuoW3dCwAMTt31hLd1H6pJvNEcXKO5_ayqEsGe1vY33ASWsDmyazQPXyIauwnhRqRS8KcJ5rg/s400/luis%20rope%20BW.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="299" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07G3WuWBxOYOVamvDvF1JEC7KIjDwg1dNvGDGYf4hkHJPruK9OrJXhEyzYdDx30Gr4sUyhYC4vzuMeOfS-dG9GALX1_uswWK8kZ0heWG93J4D8VN_HGuoW3dCwAMTt31hLd1H6pJvNEcXKO5_ayqEsGe1vY33ASWsDmyazQPXyIauwnhRqRS8KcJ5rg/s16000/luis%20rope%20BW.jpg" /></a></div><p> </p><p><a href="http://www.luisvasquezlaroche.com/">Luis Vasquez La Roche</a> is Alice Yard’s second artist in residence at documenta fifteen. From 4 to 17 July, 2022, they are based at WH22 in Kassel. During their time there, they will present a series of performance and video works by themselves and a range of other artists, extending the documenta fifteen lumbung to various past and present collaborators. These include their solo performance work <i>How to Jump the Rope the Right Way</i>; the video installation <i>En Function del Interes Nacional</i>, in collaboration with Mariana Parisca; and <a href="https://www.instagram.com/cautiontales/"><i>Let That Be Your Cautionary Tale</i></a>, a collaborative project among eleven artists that centres on social behaviour as an extension of structured artwork, using land, performance, collaboration, movement, migration, and history as points of departure.<br /><br />=<br /><br />Luis Vasquez La Roche (b. 1983, based in Couva, Trinidad and Tobago) holds a BA in Visual Arts from the University of the West Indies and an MFA from Virginia Commonwealth University. They have exhibited work and performed in institutions such as Field Projects in NY, ICOSA in Austin TX, Denison Art Space in OH, Deakin University in Melbourne Australia, La Vulcanizadora in Bogotá Colombia, MCLA Gallery 51 in MA, Fresh Milk in Barbados, Alice Yard, Medulla Art Gallery and Y Art Gallery in Trinidad and Tobago, LACE in Los Angeles CA, AIR gallery in NY, The Carr Center in Detroit MI and the Institute of Contemporary Art in Richmond VA. They were the recipient of the Fulbright scholarship in 2018. They are currently a full-time lecturer at the Academy for the Performing Arts at The University of Trinidad and Tobago.<br /><br />#AliceYardD15 #ayardexchange #documentafifteen</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-30085695202883654532022-06-20T16:41:00.001-04:002022-06-23T16:46:57.057-04:00A conversation with Richard Fung<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /><i>Friday 24 June, 2022 / 12.30 pm TT time / 6.30 pm Kassel time</i><br /></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRugv7hY-FBO9ZwRJycE5hDHmkKMFDmWtwK0Ib_TKbIGtyE11Zu5izUQyY3HVwTsMiRKdEwF9dhKoDgLxQv8g1nJ1PYQUURbYl4OP3kt6Ch_anRSWevI1WYENm_Omf-n-3SDlpzKIxU-Eh2a6mavAd7ypK5FKWf-skM_9yoSYiFGAQ6EjZOEUEFxtXew/s400/richard%20fung%20headshot.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRugv7hY-FBO9ZwRJycE5hDHmkKMFDmWtwK0Ib_TKbIGtyE11Zu5izUQyY3HVwTsMiRKdEwF9dhKoDgLxQv8g1nJ1PYQUURbYl4OP3kt6Ch_anRSWevI1WYENm_Omf-n-3SDlpzKIxU-Eh2a6mavAd7ypK5FKWf-skM_9yoSYiFGAQ6EjZOEUEFxtXew/s16000/richard%20fung%20headshot.jpg" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS-qVD1Nhp5Hv8YOPZJ8LGHBkcjidcmh9lJwtKgRxZnJ_qbQuaIp0_DERZ_a3T4cQVl33YaA_A7zNW4W7Fj0BI6i8NWdOkx3687WmT4018FJZDeowDgAFGZJRrVLagEDUOkg99oyJtfxWLPDSM6UfhDzRW9aVAg41WwZxPZB1Hx_duGFQ2RVIIOft_JQ/s540/richard%20fung%20headshot.jpg" style="margin-left: 0em; margin-right: 0em;"></a></div><p> </p><p><a href="http://www.richardfung.ca">Richard Fung</a> is a Trinidad-born, Toronto-based video artist and writer. He joins Alice Yard co-director Christopher Cozier for an informal conversation about his current work in progress, centred on the late Trinidadian writer Harold Sonny Ladoo, and questions of the local and the global.<br /><br />Fung will participate from Alice Yard’s space at WH22 in Kassel, and Cozier will join him virtually from our home base at Granderson Lab in Belmont, Port of Spain. The conversation will also be <a href="https://youtu.be/5GRDapaIR3M">live-streamed</a>. All are invited to join — <a href="https://youtu.be/5GRDapaIR3M">virtually online at Alice Yard’s YouTube channel</a> or in person at Granderson Lab.<br /><br />=<br /><br />Richard Fung is an artist and writer born in Trinidad and based in Toronto.<br /><br />His work comprises challenging videos on subjects ranging from the role of the Asian male in gay pornography to colonialism, immigration, racism, homophobia, AIDS, justice in Israel/Palestine, and his own family history. His single-channel and installation works, which include <i>Orientations: Lesbian and Gay Asians</i> (1984) and its redux <i>Re:Orientations</i> (2016), <i>My Mother’s Place</i> (1990), <i>Sea in the Blood</i> (2000), <i>Jehad in Motion</i> (2007), <i>Dal Puri Diaspora</i> (2012), and <i>Nang by Nang</i> (2018), have been widely screened and collected internationally, and have been broadcast in Canada, the United States, and Trinidad and Tobago.<br /><br />Fung’s essays have been published in numerous journals and anthologies, and he is the co-author with Monika Kin Gagnon of <i>13: Conversations on Art and Cultural Race Politics </i>(2002). He is Professor Emeritus in the Faculty of Art at OCAD University. <br /></p><p><br />#AliceYardD15 #ayardexchange #documentafifteen</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-1400065131119913902022-06-18T15:20:00.016-04:002022-06-20T15:26:47.710-04:00Blue Curry, artist in residence<p><span style="font-size: large;">Alice Yard / documenta fifteen</span><br /></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpWm__0e97qMeqDD8Wjp4SsyJoUv-_d_cSK8lmoBuccBj-BXVbA6gu7qsuQC3gWfkE-EjAzZeUlCLn_0G51bzz9XVhVdHzFeLU7iLnV7j5wTInQbyDWQvD73yJOfBIHRJtNZxRZzz5tb_I2W8QigXgfQq9RE6vUytEU5mC93QdMEokHRMxMj59InL2w/s453/blue%20curry%20wh22.jpeg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="453" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpWm__0e97qMeqDD8Wjp4SsyJoUv-_d_cSK8lmoBuccBj-BXVbA6gu7qsuQC3gWfkE-EjAzZeUlCLn_0G51bzz9XVhVdHzFeLU7iLnV7j5wTInQbyDWQvD73yJOfBIHRJtNZxRZzz5tb_I2W8QigXgfQq9RE6vUytEU5mC93QdMEokHRMxMj59InL2w/s16000/blue%20curry%20wh22.jpeg" /></a></div><p> </p><p><a href="https://www.bluecurry.com/">Blue Curry</a> is Alice Yard’s first artist in residence at <a href="https://aliceyard.blogspot.com/2022/06/alice-yard-at-documenta-fifteen_15.html">documenta fifteen</a>. From 18 June to 2 July, 2022, he is based at WH22 in Kassel, responding sculpturally to other documenta fifteen artists and ideas. Working with co-curator Christopher Cozier, he is also instigating a revived version of the <a href="https://aliceyard.blogspot.com/2016/09/out-of-place.html">Out of Place</a> project, originally presented in Port of Spain in 2016 — a series of actions by other artists, further extending the documenta fifteen exchange through our networks.<br /><br />=<br /><br />Blue Curry (b.1974, Nassau, Bahamas) is an artist working primarily in sculptural assemblage and installation art who uses an idiosyncratic language of commonplace objects and found materials to engage with themes of exoticism, tourism, and material culture. He has exhibited at Tate Britain, the Victoria & Albert Museum, the Liverpool, SITE Santa Fe and Jamaica Biennials, the Caribbean Triennial, the Art Museum of the Americas, the World Bank, the Museum of Latin American Art, the Frost Museum and the Nassauischer Kunstverein, among many others. He is a graduate of the Goldsmiths College Fine Art MFA programme. He currently lives in London and works between there and the Caribbean.<br /><br />He is also the director of <a href="https://www.rubycruel.com/">Ruby Cruel</a>, a creative space in Hackney, London.</p><p><br /><br />#AliceYardD15 #ayardexchange #documentafifteen</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-45622585586124413472022-06-15T09:33:00.001-04:002022-06-15T09:33:28.584-04:00Alice Yard at documenta fifteen<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDJFk5n-Qbig00zjuA0Frff7kUI5zBzGK1A1QUZZ54rSjpsmhwDcR7vj8f6q8aMVLHKb7G2risiVxZ09tUrm_lsrXFiYIUbWe-2y1u_26zUDPdx-NtJ7wowdEs1n2Pby31uX-WAX_baLfP-8SLxDYRRjjQ8PKvaaT2uxeg_IKOAujTOR-lfuLAd4EoyQ/s400/d15%20header%20image.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="283" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDJFk5n-Qbig00zjuA0Frff7kUI5zBzGK1A1QUZZ54rSjpsmhwDcR7vj8f6q8aMVLHKb7G2risiVxZ09tUrm_lsrXFiYIUbWe-2y1u_26zUDPdx-NtJ7wowdEs1n2Pby31uX-WAX_baLfP-8SLxDYRRjjQ8PKvaaT2uxeg_IKOAujTOR-lfuLAd4EoyQ/s16000/d15%20header%20image.jpg" /></a></div> <p></p><p>From 18 June to 25 September, 2022, <a href="https://documenta-fifteen.de/en/lumbung-members-artists/alice-yard/">Alice Yard</a> will participate in <a href="https://documenta-fifteen.de/en/">documenta fifteen</a>, curated by the Indonesian collective <a href="https://documenta-fifteen.de/en/about/">ruangrupa</a>.<br /> <br />Taking the <a href="ttps://documenta-fifteen.de/en/glossary/lumbung">lumbung</a> — a communal rice barn typical in rural Indonesia — as a conceptual model, documenta fifteen is built around “principles of collectivity, resource building, and equitable distribution.”<br /><br />When Alice Yard was invited to join the documenta fifteen lumbung and work alongside dozens of other collectives from around the world, the curators asked how we might “translate” what we do to a new physical location — the German city of Kassel — and a broader context.<br /><br />What does Alice Yard do? For fourteen and a half years, from our founding in 2006, we were often described as an art space, based at Roberts Street in Woodbrook, Port of Spain. In February 2020, when we permanently relocated to Granderson Lab in Belmont, it was clear to us that Alice Yard is not merely a physical location, but a series of relationships and ideas, ways of thinking and working — not a project but a practice, not a programme but a process.<br /><br />How do we translate this to documenta fifteen? Rather than inventing some unprecedented new spectacle, we have opted to do what we’ve always done: create a space, both physical and conceptual, to bring artists and others together to talk, experiment, exchange, and play, with an ethos of self-determination, generosity, spontaneity, and friendship.<br /><br />During the 100 days of documenta fifteen, Alice Yard will host nine artists in residence at the <a href="https://documenta-fifteen.de/en/venues/wh22/">WH22</a> venue, who will create and present site- and time-specific works and actions in diverse media at locations around Kassel. Building on relationships that, in some cases, stretch back to the earliest days of Alice Yard, these artists are:<br /><br />18 June–2 July: Blue Curry<br />3–17 July: Luis Vasquez La Roche<br />5–19 July: Nicole Cecilia Delgado and Amanda Hernández<br />18–30 July: Shannon Alonzo<br />31 July–13 August: Versia Harris<br />14–28 August: Michelle Eistrup<br />29 August–10 September: Bruce Cayonne<br />11–25 September: Ada M. Patterson<br /><br />We also look forward to welcoming other friends and collaborators to our space in Kassel for informal visits, interactions, and activations, some planned and some improvised.<br /><br />Simultaneously, Alice Yard will present a series of works and actions in Port of Spain to extend the documenta fifteen conversation beyond Kassel.<br /><br />During our time in Kassel, instead of concerning ourselves with whether or how an international audience may or may not understand our process, we prefer to ask ourselves: What do we make or do when no one is watching us? What do we talk about when no one else is listening?<br /><br />The exact scope and content of our documenta fifteen participation are unknown to us now — these will take shape over the 100 days. To use one of our favourite phrases, there is no end in sight.<br /><br />Follow us here and on social media, visit us in Kassel or Port of Spain, and join our conversation.<br /><br />#AliceYardD15 #ayardexchange #documentafifteen</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-14587007378030942592022-02-04T19:50:00.006-04:002022-02-04T20:14:54.514-04:00 Artist in residence Pascale Monnin<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjCKbNIy3nBPxjFst2Xoi5DUYYov5J76XjocFpwv5Zn6siOYoZQFzQGkJYy6yk7yzGpvNt2oIeKsuj9LRjQLtCixsF5H0kXGaaI17cyO2agMSUwTpgLm3GtG_D44hlRKX7PHsXatw8QZ9aKw771I9wB300q_G0z1kVp0wS-kr6IJb_BMh0DEFGBiMOEfQ=s400" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="397" data-original-width="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjCKbNIy3nBPxjFst2Xoi5DUYYov5J76XjocFpwv5Zn6siOYoZQFzQGkJYy6yk7yzGpvNt2oIeKsuj9LRjQLtCixsF5H0kXGaaI17cyO2agMSUwTpgLm3GtG_D44hlRKX7PHsXatw8QZ9aKw771I9wB300q_G0z1kVp0wS-kr6IJb_BMh0DEFGBiMOEfQ=s16000" /></a></div><p><span style="font-size: x-small;"><i>Lena et Romy</i> from <i>Serie :: Histoire d'O :: O Stories</i> (ink, acrylic on canvas, 150 x150 cm, 2022)</span></p><p></p><p> </p><p>Since mid-January, Alice Yard has been hosting artist in residence <b>Pascale Monnin</b> at Granderson Lab in Belmont. This is our first international residency since the start of the COVID-19 pandemic almost two years ago.<br /><br />During her time in Port of Spain, Monnin has been working on a series of works on canvas called <i>Histoire d’O :: O Stories</i>, while engaging in conversation with members of the Erthig Road community.<br /><br />Due to current COVID-19 restrictions, Alice Yard is not able to host a public event or presentation of Monnin’s work in progress. However, anyone interested in meeting the artist and exploring this new work may contact us at <b>helloaliceyard@gmail.com</b> to arrange an informal private viewing on <b>Thursday 10 February</b>. (COVID-19 health measures will be in effect: all visitors to Granderson Lab must be fully vaccinated and masked at all times.)<br /></p><p>Pascale Monnin’s residency at Alice Yard is part of a multi-year regional exchange organised by <a href="https://www.lecentredart.org/">Le Centre d’Art</a> in Haiti, with funding from UNESCO’s International Fund for Cultural Diversity.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgu1VyojEKQdgsVGzBlz-Rtm75pMsRkbA3hOY7Qt3k_JP_TQuMTpMj16VE2AM-Fddl4ZbXZnOLGEuAKoPomdP3LFUd4hfT897cSan1YImcCBAcIzohCZq3YS3Dr7L6D0PXfRnLpT293yPoXn063Y9mPSUeuoRsnY9jVqrNGFvEcppjFqKX7XE8d7g8HkQ=s400" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgu1VyojEKQdgsVGzBlz-Rtm75pMsRkbA3hOY7Qt3k_JP_TQuMTpMj16VE2AM-Fddl4ZbXZnOLGEuAKoPomdP3LFUd4hfT897cSan1YImcCBAcIzohCZq3YS3Dr7L6D0PXfRnLpT293yPoXn063Y9mPSUeuoRsnY9jVqrNGFvEcppjFqKX7XE8d7g8HkQ=s16000" /></a></div><br /><p><span style="font-size: x-small;"><i>Idelmonde Youains</i> from <i>Serie :: Histoire d'O :: O Stories</i> (ink, acrylic on canvas, 150 x150 cm, 2022)</span></p><p><br /><b>About the artist:</b><br /><br />Pascale Monnin was born in Port-au-Prince, Haiti, in 1974 and was raised in Switzerland where she studied. She currently lives and works in France. This double culture nourishes a complex imagination that she uses in many techniques: she paints, sculpts, engraves copper, creates mobiles, and makes installations, and has shown her art around the world. She founded the cultural association Passagers des Vents in 2010, and with poet James Noël she launched the artistic and literary Review <i>IntranQu’îllités</i> in 2012.<br /><br />The Galerie Monnin in Port-au-Prince, founded in 1956, is a family affair. Monnin was also artistic director of Le Centre d’Art in Port-au-Prince from 2014 to 2016.<br /><br />She has exhibited at the Grand Palais, the Villa Médicis, Agnès B, the OAS Museum, the Waterloo Museum, the Fowler Museum, and Halle Saint-Pierre, among other venues, and she represented Haiti at the 2011 Venice Biennale. She has works in the collections of the MUPANAH (Musée du Panthéon National Haitian) and Le Centre d’Art in Port-au-Prince, and other international museums and galleries.<br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-88237366809368302902021-09-15T16:28:00.000-04:002021-09-15T16:28:22.054-04:00Fifteen years later<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QG5_9Asz5OQ/YUJWMfGydmI/AAAAAAAAGBs/3JG95rK4tJA0urxvlQtMc5EF3u9eTdghgCPcBGAYYCw/s2048/granderson%2Binterior.jpg" imageanchor="1" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-QG5_9Asz5OQ/YUJWMfGydmI/AAAAAAAAGBs/3JG95rK4tJA0urxvlQtMc5EF3u9eTdghgCPcBGAYYCw/w400-h300/granderson%2Binterior.jpg" width="400" /></a></div> <p></p><p>Fifteen years ago today, on 15 September, 2006, Sean Leonard opened the driveway gate of the house at 80 Roberts Street, Woodbrook, and welcomed us all in to a place he had decided to call Alice Yard, after his great-grandmother Alice Gittens. It was, that first evening, a simple Woodbrook backyard, paved with concrete, with a laundry sink in the corner. He had offered this backyard as a venue for the artist Jaime Lee Loy to present a new artwork, a video installation, and in subsequent weeks and months Sean continued to offer Alice Yard to his peers as a space to imagine, converse, and play.<br /><br />Fifteen years later, imagination, conversation, and play are still our motive and our method. Over the past decade and a half, Alice Yard has worked (and played) with many dozens of artists, musicians, writers, dancers, maspeople, filmmakers, curators, and others. Some spent a short time with us, some lingered for a while, some never went away. A year and a half ago, we left that backyard in Woodbrook and relocated to Granderson Lab — the former Granderson Bros. printery — on Erthig Road in Belmont, on the other side of Port of Spain. The move put to a practical test our belief that Alice Yard is not, essentially, a physical site, but a series of ideas and relationships — a practice, a process — a space and not a place, extending through and beyond Port of Spain, Trinidad and Tobago, and the Caribbean to include interlocutors and fellow instigators dispersed geographically around the world, but connected by intentions and affinities. <br /><br />We are driven by curiosities rather than ambitions. We keep going because others keep stepping up and stepping in with ideas and questions we want to grapple with. Sometimes we’ve wished to move very fast, and sometimes we’ve deliberately chosen to slow down. The past fifteen years have been inspiring, challenging, occasionally exasperating, and never boring. We continue to dream, improvise, and argue with an always changing constellation of friends, colleagues, neighbours, and antagonists — to all of whom we say thanks.<br /><br />On 15 September, 2006, the one thing we perhaps could not imagine — or didn’t need to — was that we’d still be doing this fifteen years later. Then, there was no destination in mind. Now, we’re still not there yet, and we’re still full of questions. Nothing could be more thrilling.<br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-82785349648927996592021-06-16T15:59:00.002-04:002021-06-16T15:59:52.140-04:00T.V. to See the Sky<p><span style="font-size: large;">Inspired by Yoko Ono’s work, <i>SKY T.V.</i><br /><span style="font-size: medium;"><i>Monday 21 June, 2021, beginning at sunrise 5:42 AM Pacific Standard Time, and continuing for 24 hours</i></span></span><br /></p><p></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4x5ynrevDXs/YMpX1gznkmI/AAAAAAAAF7g/0jPQTK60ye8AZ7371VyA1BGH9ga7sUF2wCLcBGAsYHQ/s400/sky.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="269" data-original-width="400" src="https://1.bp.blogspot.com/-4x5ynrevDXs/YMpX1gznkmI/AAAAAAAAF7g/0jPQTK60ye8AZ7371VyA1BGH9ga7sUF2wCLcBGAsYHQ/s16000/sky.jpg" /></a></div><br /><p></p><p>This event is inspired by Yoko Ono’s second conceptualization of <i>SKY T.V.</i> in 1967 for the Lisson Gallery, which she described as “a T.V. just to see the sky. Different channels for different skies, high-up sky, low sky, etc." <i>SKY T.V. 1966 (furniture piece)</i> was a video sculpture described by Ono as “a closed circuit T.V. set up in the gallery for looking at the sky.” It broadcasts a live video feed of the sky from above the building where it was installed — a way to bring the sky inside, even if a space lacked windows. In collaboration with Yoko Ono, the Getty Research Institute and the Feminist Center for Creative Work will present a 24-hour video streaming of the sky via Zoom. A network of international institutions will participate in a live broadcast of the sky transmitted to audiences at home. At a time of profound revolution and reflection, a time of restricted travel but great desire for connection, we seek to draw upon Ono’s invocation of the sky as a space of generative possibility and renewal as well as a territory beyond the reach of capital and ownership. The event takes place on 21 June, 2021 to coincide with and celebrate the Solstice and the Strawberry Moon Eclipse (June 20–24).<br /><br />Registration link for attendees:<br /><a href="https://zoom.us/webinar/register/WN_SRK9XUXLSQOd0lQi35yWWQ"><br />https://zoom.us/webinar/register/WN_SRK9XUXLSQOd0lQi35yWWQ</a><br /><br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-40025609084169121582021-02-03T11:35:00.005-04:002021-02-04T09:15:33.685-04:00Bruce Cayonne: Once Upon a Fete<p><i>Thursday 11 to Thursday 18 February, 2021, at Granderson Lab</i><br /></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-T2_qyVaAwIQ/YBrB0ojzGwI/AAAAAAAAFvs/dDfi2IG5mWQP2TLaiGY19UJbxxFC55GOgCLcBGAsYHQ/s400/OUF_SampleSigns.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="306" data-original-width="400" src="https://1.bp.blogspot.com/-T2_qyVaAwIQ/YBrB0ojzGwI/AAAAAAAAFvs/dDfi2IG5mWQP2TLaiGY19UJbxxFC55GOgCLcBGAsYHQ/s16000/OUF_SampleSigns.jpg" /></a></div><p> </p><p>During the month of February 2021, artist and sign painter <b>Bruce Cayonne</b> is in residence at Granderson Lab. Cayonne’s work spans over thirty years, and he is responsible for shaping a visual language unique to Trinidad and Tobago — the fete sign.<br /><br />During his residency, in collaboration with Alice Yard, Cayonne will present a series of over twenty-five hand-painted fete signs — WASA, Army, Short Pants, Boxing Nite, Licensing, and more — recreating original signs from the 1990s from memory. The signs will be installed at Granderson Lab, and outdoors on Erthig Road, between Pelham Street and Norfolk Street.<br /><br /><i>Once Upon a Fete</i> opens on Thursday 11 February and runs until Thursday 18 February, from 5 to 9 pm daily. Face masks are mandatory and COVID-19 safety protocols will be in effect.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-g8wyJOy074M/YBrCdCFXaiI/AAAAAAAAFv0/Bmy_QR2dQNk5h7xnzDqxMeD1k8DqQUHlACLcBGAsYHQ/s500/cayonne.jpg" style="margin-left: 0em; margin-right: 0em;"><img border="0" data-original-height="500" data-original-width="400" src="https://1.bp.blogspot.com/-g8wyJOy074M/YBrCdCFXaiI/AAAAAAAAFv0/Bmy_QR2dQNk5h7xnzDqxMeD1k8DqQUHlACLcBGAsYHQ/s16000/cayonne.jpg" /></a><br /></div><p><i> </i></p><p><i>About the artist:</i><br /><br /><b>Bruce Cayonne</b> is an artist and sign painter based in Arima, Trinidad. He has been painting fete signs for the past thirty years. His iconic work has come to define the visual landscape and history of Trinidad and Tobago with his signature fete style — bold, precise lettering against colourful and vibrant gradient backgrounds, each sign hand-painted on hardboard and hammered onto lightposts. The signs promote upcoming events, from all-inclusive fetes to local markets and festivals. His work can also be found elsewhere in the Caribbean, in places like Grenada, St. Vincent and the Grenadines, and Guyana.<br /> <br />Over the past three decades, Cayonne has produced thousands of signs and has collaborated with numerous artists and musicians, such as DJs like Kabuki, Dr Hyde, Howie T, Foreigner, and Nyahbinghi, and visual artists like Christopher Cozier (T&T), Blue Curry (UK/Bahamas) and ds4si/Intelligent Mischief (USA). <i>Once Upon a Fete</i> is his first solo exhibition, featuring fete signs from the early 1990s to the late 2000s.</p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-71629875710054126142020-11-26T10:24:00.004-04:002020-12-09T12:20:05.211-04:00States of Confinement<i><span style="font-size: medium;">26 to 29 November, 2020, at Granderson Lab<br /></span></i><div><i><span style="font-size: medium;">Curated by Adeline Gregoire </span></i></div><div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-t_jIePQYgGY/X7-yz_d5KII/AAAAAAAADcg/4zStERnDQFoQu7SXewLA2X2RA6feqczDgCLcBGAsYHQ/s2048/image005.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1639" height="500" src="https://1.bp.blogspot.com/-t_jIePQYgGY/X7-yz_d5KII/AAAAAAAADcg/4zStERnDQFoQu7SXewLA2X2RA6feqczDgCLcBGAsYHQ/w406-h508/image005.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">States of Confinement</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> seeks to explore the various states </span><span style="font-family: arial;">—</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> physical, psychological, geographical, real or perceived as, and imagined — of confinement</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, experienced during the worldwide pandemic of Covid-19 in 2020.</span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; white-space: pre-wrap;">Upon examination of the colonial history of confinement/isolation and associated violence (ref. slave punishment archives, use of metal masks; isolation as torture) — are some societies more “ tolerant” of the confinement directive, while others more resistant (ref. US, EU protests as responses to the confinement directive) to what could be seen as another form of structural violence (carried out by the state)?</span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; white-space: pre-wrap;"> </span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Could prolonged confinement/isolation/distance destroy social fabric? And what is this new normal and the new way of being? </span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In as much as the exhibition is an attempt to document this critical period in time, the selection of works is meant to engage reflection on </span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">confinement as an accumulation of states:</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> a geographic location; mental/psychological states; status quo; a preventative measure or method of control; a means to protect and save populations.</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Iterations of confinement </span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">(directed, self-imposed…) would be also examined,</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> in addition to the possible ripple effects</span><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (re)created by confinement on individual, structural and societal levels.</span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Finally, the selected works hope to provide stimulus for a series of interrogations on relationships of the human-human/ human-system/human-nature; on themes of permanence vs. transience and metamorphosis<b>.</b></span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b> </b></span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Participating artists: </b></span></p><p dir="ltr" style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><b><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Shannon Alonzo / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Sabrina Charran / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Maria Diaz / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Sarah Knights / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Alicia Milne / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Luis Vasquez La Roche / </span><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">Rodell Warner</span></b></p><p dir="ltr" style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;"><span style="color: #222222; font-weight: bold;">See web version </span><b><span style="color: #a64d79;"><a href="https://adelinegregoire.com/" target="_blank">here</a></span></b></span></p><p dir="ltr" style="background-color: white; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: #222222; font-family: arial; font-style: italic; white-space: pre-wrap;"><a href="https://www.instagram.com/statesofconfinement/?hl=en" target="_blank">States of Confinement</a> / <a href="https://www.instagram.com/culturegomagazine/?hl=en" target="_blank">CULTUREEGO</a></span></p><p dir="ltr" style="background-color: white; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><b>OPEN from 5 to 9 PM / </b></p><p dir="ltr" style="background-color: white; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><b><br /></b></p><p dir="ltr" style="background-color: white; line-height: 1.656; margin-bottom: 0pt; margin-top: 0pt;"><span style="color: #222222; font-family: arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><b><br /></b></span></span></p></div><br /> <p></p></div>Visual Mattershttp://www.blogger.com/profile/07427718855688415382noreply@blogger.com0tag:blogger.com,1999:blog-1466629067834526636.post-81379443853008673272020-11-22T18:41:00.003-04:002020-11-22T18:47:11.373-04:00Zane Rodulfo and Rodell Warner: Fractals<p><i>Tuesday 24 November, 2020, 8 pm, at Granderson Lab</i><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bCJGK3wm3rc/X7roRFkXIJI/AAAAAAAAFpY/9ts23aek7BwiOjfPNUPswsiWmsJkwEiwwCLcBGAsYHQ/s400/WhatsApp%2BImage%2B2020-11-22%2Bat%2B6.21.33%2BPM.jpeg" style="margin-left: 0em; margin-right: 0em;"><img alt="Fractals" border="0" data-original-height="225" data-original-width="400" src="https://1.bp.blogspot.com/-bCJGK3wm3rc/X7roRFkXIJI/AAAAAAAAFpY/9ts23aek7BwiOjfPNUPswsiWmsJkwEiwwCLcBGAsYHQ/s16000/WhatsApp%2BImage%2B2020-11-22%2Bat%2B6.21.33%2BPM.jpeg" title="Fractals event image" /></a></div><p><i> </i></p><p><i>Fractals</i> is a live electro-acoustic, multimedia performance by Trinidadian drummer and composer Zane Rodulfo in collaboration with visual artist Rodell Warner. Using sensory percussion drum triggers to improvise with electronic sounds, Rodulfo will manipulate and trigger Rodell’s video artwork along with archival video. The videos will be projection-mapped on Granderson Lab’s building exterior by North Eleven. The public is invited to drive or walk by the building to experience the performance, while observing COVID-19 protocols.<br /></p><p>The performance is made possible thanks to Granderson Lab, a project of Alice Yard, with support from CATAPULT | A Caribbean Arts Grant — a COVID-19 relief programme conceptualised by Kingston Creative (Jamaica) and Fresh Milk (Barbados) and funded by the American Friends of Jamaica | The AFJ (USA).<br /><br />Zane Rodulfo is a Trinidadian drummer and composer living and working in Brooklyn, NY. He completed graduate study in jazz studies at New York University and holds Bachelor of Music degrees in both jazz performance and ethnomusicology from the Oberlin Conservatory Of Music. He has opened for great musicians such as Stevie Wonder, and has performed at illustrious venues such as Jazz at Lincoln Center and the Blue Note. <a href="http://www.zanerodulfo.com">www.zanerodulfo.com</a><br /><br /></p>Nicholas Laughlinhttp://www.blogger.com/profile/08636815243848162408noreply@blogger.com0