Artist in Residence: Jemini Baptist

 Tuesday 24 March at 6-8 pm  |  Granderson Lab

On Tuesday 24 March, 6-8 pm, meet and greet with Alice Yard artist resident, Jemini Baptiste (Canada/T&T). Join us at Granderson Lab for a short presentation of her ongoing video and collage work.

Jemini Baptiste is a multidisciplinary artist that depicts the process of destruction, transformation and healing. Her work explores the split of human from nature as we, the people, alongside land are stretched, strained and mutilated during the journey into ‘the future’. Each work is meant to encounter a specific emotional story in this cyclical action that questions the environment and circumstances one is forced to live in within the ‘modern’ Western world. She directly critiques the fragmented mental and emotional state that is required by tyrannized citizens to create the ‘advanced’ societies that the prospect of an idealized future relies on.

“I am not just interested in the historical healing of Trinidad, but what the notion of modernity means in different diasporic nations and how it stresses and strains its citizens out of mental peace.” 

All are invited. #actionindeyard

Artist in Residence: Waldane Walker

Thursday 26 February at 6 pm  |  Granderson Lab

Artist talk with Waldane Walker, Artist-in-Residence at Alice Yard  |  Thursday, 6pm 

Action(ing) Otherwise is part of Alice Yard’s ongoing collaboration with Sustaining the Otherwise, a research and artistic project about restitution, reparation and transformation, initiated by Amal Alhaag & Selene Wendt. For this iteration of our collaboration Waldane Walker was invited for a one-month residency at Alice Yard, where he collaborated with Robert Young to participate in Vulgar Fraction’s TantiBlak Mas 2026. 

To mark the end of Waldane Walker’s residency, we invite the public to join us for an informal gathering where Waldane will share some insights into his work and reflections on his experiences over the carnival season. 

With generous support from Nordic Culture Fund and OCA.

Artists in Residence: Ruben Cabenda and Annemarie Daniel

Sunday 28 September, 6-9 pm  |  Granderson Lab

Freedom for a community would not be limited to rejecting a language, but it would be the creation of a free language, enriched by and built from the imposed language".(...) What is needed here, for one and for all communities burdened by the weight of history and those divested of, is in fact not a language of communication (abstract, emaciated, "universal" in the way we know it) but rather, a possible (and regular) communication between mutually liberated opacities, differences, languages...

—Edouard Glissant

Artists Ruben Cabenda and Annemarie Daniel, from Paramaribo, Suriname, are currently in residence at Alice Yard.

In 2023, Cabenda produced the animation Töngö Sondi, a short film that explores the biblical Tower of Babel as a metaphor for Caribbean history. This work was created as part of The Caribbean Digital Virtual Artist's Residency with Alice Yard.

On the night of Sunday 28 September, as their residency comes to a close, the two artists will present new and recent works in progress, including Töngö Sondi, in collaboration with North Eleven, in a digital media installation at Granderson Lab in Belmont.  

All are invited.

...

Artist Bios:

Ruben Cabenda (b.1989, Paramaribo, Suriname) is a contemporary artist known for his provocative animations that explore the intersection of slavery and identity. Cabenda’s practise also spans other media including installation, sculpture, painting. Cabenda obtained his bachelor's degree in fine arts at Gerrit Rietveld Academy in Amsterdam (2014). His curiosity for animation grew from 2nd year of the BFA program. The possibility of highlighting or portraying a subject, thoughts, emotions, stories through animation is very fascinating for Cabenda. He won the Gerrit Rietveld Fine Arts Academy Prize for his graduation presentation. After his study Ruben started teaching at the Nola Hatterman Academy (Suriname). In 2018 he switched to the general education system and is currently a drawing teacher in high schools. In his autonomous practice he draws his inspiration from the possibilities that exist to become better as a person, and artist. His curiosity of his origins brought him to focus on the theme of identity and slavery. How the past is connected to the present and how that influences the descendants of the slaves. Through his work he wants to instigate and increase awareness and provoke positive thought and empowerment in his (white and black) audiences ‘today’.

Cabenda’s art has been exhibited in Europe at galleries, museum such as Catharijneconvent (NL), world première IDFA Doclab (NL), also in the Transoceanic Visual Exchange (TVE), Fresh Milk, Barbados (2024). In 2023 Cabenda was the winner of Caribbean Digital Virtual Artist's Residency, Alice Yard, Trinidad and in 2024 he won the IDFA Immersive Grant (NL). 

Annemarie Daniel, born April 17, 1975, in Paramaribo, Suriname. Annemarie Daniel developed an interest in art through a high school assignment where she had to draw a stair using perspective methods. She started drawing everything she could laid her hands on. After high school Annemarie studied Mathematics in Paramaribo and became a teacher. It was there where her passion for creativity became stronger to pursue a career in art.

While working as a mathematics teacher she was attending the Nola Hatterman Academy (Suriname). Annemarie received  a four-year scholarship to study at the Gerrit Rietveld Academy (Netherlands). In 2014 she graduated with a Bachelor Degree in Fine Arts and since then has participated in art residencies and exhibitions.

Because of her cultural background she began to explore the field of body modification. The maroon tribe (Saramaccaners ) she belong to, used to practice scarification on women and men. Her mother is the living proof of this practice. Her mother has scars on her face, lower back and Abdomen. Her mother had to deal with issues such as how people from the city looked down at her mother as an outcast and she had been called names.

Annemarie Daniel is a multidisciplinary artist that investigates slavery, identity, cultural inheritance, scarification that deal with the change of the human body and mindset. In her works she  tries to depict the principles visible such as pain, vulnerability, weakness, beauty, strong, cultural  belonging to a group that are connected to the past, present and future.

A State of Passion // Screening introduced by Richard Fung

Saturday 6 September, 6:30 pm // 
Granderson Lab, 24 Erthig Road, Belmont, POS

The documentary film A State of Passion (2024; dir. Carol Mansour and Muna Khalid) is a powerful, unsparing portrait of British-Palestinian surgeon Dr. Ghassan Abu-Sittah, and his efforts to force the world to confront the truth about the horrific violence unfolding in Gaza. In October 2023, at the start of Israel’s bombing campaign, he travelled to Gaza to work in the emergency rooms of Gaza’s Al Shifa and Al Ahli hospitals. After 43 days working round the clock under constant bombardment, Abu-Sittah emerged to find himself as a face of Palestinian resistance.

Forced by the destruction of hospital facilities and his own deteriorating health to return to the UK, Abu-Sittah reunited with his wife and children, but continued his campaign to keep the world’s attention focused on the ongoing genocide. A State of Passion follows him on his journeys across the Middle East and Europe, bearing witness both to the overwhelming horrors he encounters and his quest for justice in circumstances that seem impossible.

This free screening, open to all, is introduced by Trinidadian Canadian filmmaker Richard Fung and supported by Trinbagonians for Palestine, fLim club, and IGDS IGNITE. Educational materials and activities, including Palestinian cola, will be available before the screening.

UN|FOLD

Saturday 9 August, 2025, from 4 to 8 pm
Granderson Lab 

 

Launched in 2024 by Alice Yard in collaboration with SPEC*, UN|FOLD is a small publishing fair where DIY/micro-publishers, zinemakers, and artists experimenting with print media can show, swap, and sell their work.

The first edition of UN|FOLD was held on 27 July, 2024, with a subsequent “making day” (Cut, Paste, Stamp, Draw) on 7 September, 2024.

UN|FOLD brings together publishers, writers, and artists in Trinidad and Tobago exploring small-scale, non-commercial publishing strategies and formats — zines, chapbooks, pamphlets, posters, postcards, broadsides, and more. We are interested in the aesthetics and the ethics of the hand-made, the durability of the analogue, the possibilities of the gift/barter economy, and the freedoms offered by occupying one’s own means of production.

UN|FOLD 2025 includes projects by the following participants/exhibitors:

Argotiers Press
Andre Bagoo
Celina Besson
Christopher Cozier
Lesley Garcia
Michelle Isava
Lloyd Best Institute of the Caribbean
Neala Luna
Shannon Mohammed
Renee Rampersadsingh | AnugrahaYogaTT
Candice V. Sankarsingh
Mahrinna Shareef
Terry Singh
SPEC*
Portia Subran
Raquel Vasquez La Roche
Toof Press

Keep in touch:
aliceyard.org / @aliceyardinsta / helloaliceyard@gmail.com
@spec.zine / spec.zines@gmail.com

Lara Dahlmann: Swamp Nights

Thursday 30 January, 2025, from 6.30 pm
Granderson Lab

 

Lara Dahlmann has been artist in residence at Alice Yard since the end of December 2024, working from Granderson Lab. On the evening of Thursday 30 January, she will present the results of her five-week creative and research residency, Swamp Nights.

She writes:

During my first visit to Trinidad in 2000, I was invited on a boat tour through the Caroni Swamp. That moment, as we slowly drifted past the mangrove forest, touched me and also left a lasting visual impression. The strange, almost dance-like beauty of the aerial roots is still vivid in my mind. In my artistic works, I engage with my surroundings, responding with site-specific installations. In this process, I have discovered paper as a sculptural element, both two- and three-dimensional. Over time, the drawings have gained autonomy, transitioning into cut-outs.

The tropical subject has always been metamorphic, meaning it is in constant change — a cycle of creation and decay. At Granderson Lab, I have used the space and time to create a site-specific installation that stages a dreamlike unreal state that, for me, interprets the melancholy and utopia of the tropical context.

All are invited. The installation can also be viewed from Friday 31 January to Sunday 2 February, by arrangement with the artist.

The evening will also include a reading of new creative work by writer Hassan Ali.

—

Lara Dahlmann lives and works in Hamburg. She studied at HAW Hamburg and received a travel grant from the DAAD to Trinidad. Her artistic development includes residencies in Buenos Aires, Curaçao, and Cape Town. In 2019, she participated in the Architektursommer Hamburg and was invited to the prestigious Thupelo Workshop in South Africa. In her works, Dahlmann engages intensively with her surroundings and the peculiarities of spaces, responding with site-specific installations.

Giorvana Hadeed: The Nypa Seed

Wednesday 11 September, 2024, from 6.30 pm
Granderson Lab 

 

On Wednesday 11 September, for one night only, artist Giorvana Hadeed will present new and recent works from an ongoing project, including a series of metal sculptures and a light installation.

The artist writes:

You never know what can come in with the currents… This ebony object, this Nypa seed, alluringly demands to be picked up. So enticing that it perfectly fits in the palm of your hand. So effortlessly gentle and smooth that its curves follow the fluidity of the oceans’ waves which delivered it to this beach. It appears to be delicate, fragile even. It can almost be perceived as helpless or wandering. But in that same instant its tenacity and fortitude discloses itself. Solid. It has the capacity to endure. Its bristles folding in on themselves as if to hold their narratives captive.
Portable, yet what does it carry?

All are invited.

About the artist:

Giorvana Hadeed (b. 1999, Port of Spain, Trinidad and Tobago) is an artist based between Trinidad and London. She works primarily with sculpture and installation. Her practice explores ideas surrounding the sea, the Caribbean, and notions of the landscape. Having a particular allure towards metal, her work takes shape through methods of mapping and circularity. She holds a BA from Goldsmiths, University of London.

CUT, PASTE, STAMP, DRAW

(no laptop required)
A “making day” hosted by Alice Yard + SPEC*
Saturday 7 September, 2024, 12 noon to approximately 6 pm

 

Featuring the launch of SPEC* issue 2!

Following our UN|FOLD zinemakers’ meet-up in July, we're hosting an informal and very hands-on workshop/“making” session for anyone interested in DIY publishing. We’ll play with manual techniques and tactics for assembling a simple publication (zine, chapbook, poster) — no electronic hardware or software needed.

Bring your own texts, photos, and other collage materials — we’ll provide paper, pens, scissors, glue, tape, stamps, ink etc. Come and explore, share ideas, learn and teach by doing, try something new, get feedback, make friends.

Plus the SPEC* collaborative will launch the second issue of their zine! Grab a copy, have a conversation, listen to some tunes.

All are invited.

With practical support from the Mellon Foundation

Currency: field notes from Shanice Smith

Saturday 24 August, 2024 | 6pm 'til (Artist talk at 7pm)

Currency: field notes from Shanice Smith is the second installment of the piece Women are the currency of the day (2016). The earlier artwork consists of a suggestive image of a woman’s body, printed on local currency, prompting conversations about ‘body counts’ in relation to coded sexual references and access to women’s bodies. According to one of the three traditional ideals of masculinity—access to women’s bodies, having the respect of peers, and conventional measures of career/financial success)—the greater the number of conquests, the higher a man’s perceived security in his masculinity. Like ‘body counts’, the single dollar bill has very little value, but a stack of dollar bills is worth more.

Her latest piece centres the survivors of sexual violence, who retell their encounters. The installation consists of a thermal printer that reads out the survivors’ accounts. Eventually, the ink fades away; much like the instances of trauma and abuse, these stories become part of a repetitive cycle—you hear about them, you are troubled, but then you move on—sweeping it under the rug, or discarding it like an old receipt whose contents have faded long after a transaction has taken place.

All are invited.

=

Shanice Smith’s work explores gender-based issues, with a focus on deconstructing and investigating violence faced against women and children within the Trinbagonian society. Through visual representations, she explores these themes using a mixed media approach—from video works, to found and discarded items, to performative or interactive gestures. Her main aim is that these works will function as a medium for open discussions. These encounters serve as motivation for her ongoing works and prompt conversations that create awareness and foster safe spaces for others to share their own stories, seeking to transform silence into a language of action. Her artistic inspiration stems from her own journey of self-discovery, interrogation, and more importantly, from her family’s history.

Apart from her personal practice, she is also the co-founder of Cousoumeh Collective. The Collective focuses on using participatory research methods via the act of cooking as a tool for interpersonal engagement. Within the Caribbean and its diaspora, food holds a lot of meaning as a way of showing care and building community. Both of Shanice’s practices work in tandem, becoming a reflection of each other - while her personal practice acts as a mirror, revealing parts of society we try to hide, the works done under Cousoumeh Collective offer a nurturing, healing approach to confronting the harsh realities that have been unveiled.

UN | FOLD

A zinemakers + small-scale publishers meetup

Hosted by Alice Yard + SPEC*

Saturday 27 July, 2024, 5 to 9 pm
Granderson Lab, 24 Erthig Road, Belmont, Port of Spain

Writers, makers, publishers: join us for an informal meetup at the end of International Zine Month, to exchange ideas, experience, knowledge, and small-scale/non-commercial/handmade publications. See + listen, show + tell.

All are invited.

With practical support from the Mellon Foundation

It Go Have to Adjust. On Language as Parasite

Thursday 14 December 2023 (4:30 'til)
24 Erthig Rd, Belmont

IT GO HAVE TO ADJUST.

ON LANGUAGE AS PARASITE

IT GO HAVE TO ADJUST. ON LANGUAGE AS PARASITE is a living curatorial endeavour by SAVVY Contemporary deliberating on the parasitic nature of language.

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? 

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. 

The things I cannot say

Friday, 24 to Sunday, 26 November 2023, 5:30 - 9pm
24 Erthig Rd, Belmont

The things I cannot say

Mahrinna Shareef

‘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.

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.

Transmission/distortion: A re-reading of C.L.R. James’ The Black Jacobins

Saturday, 10 June 2023, 12 noon to 5 pm*
24 Erthig Rd, Belmont

Transmission/distortion:
A re-reading of C.L.R. James’ The Black Jacobins

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.

"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.’

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.

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.

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.

All are welcome.

*Readings may be recorded.

Defying the Margins

Friday 3 June, 2023 / 6 to 10 pm / Granderson Lab

Defying the Margins 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. Defying the Margins 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.

Curated by Madalyn Shaw. With special thanks to Christopher Cozier and Esery Mondesir for organizing.

Krish Nathaniel: Several Hands

Friday 5 May, 2022, 6.30 to 8.30 pm
Granderson Lab

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.

Using the visual and sound culture of Hosay as his inception point, the works reflect on presence within the landscape and connections to place.

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.

All are invited.

Incubator Open Studio

 Friday 9 and Saturday 10 December, 2022, at Granderson Lab

 

 

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.

On Friday 9 and Saturday 10 December, from 6 to 9 pm 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.

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.

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
knowledge.

All are invited.

Hackney nongkrong

Alice Yard at Ruby Cruel / documenta fifteen 

Tuesday 15 November, 2022 / 6 to 9 pm

 

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.

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.

All are invited.

 

Belmont nongkrong

Alice Yard / documenta fifteen
Wednesday 12 October, 2022 / from 7 pm at Granderson Lab, Belmont

We learned a new word in the documenta lumbung. Nongkrong, Indonesian for “hanging out”, means more or less the same as liming.

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 and art?

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.

All are invited.

Proximities 3: The sky has no limit / El cielo no tiene límite

Alice Yard / documenta fifteen
Presented in collaboration with the Third Horizon Film Festival

Still from Celaje (Cloudscape), by Sofía Gallisá Muriente

 

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.

Featuring:

Islands, Richard Fung (9 mins)
Cloudscape, Sofía Gallisá Muriente (41 mins)
Listen to the Beat of Our Images, Audrey and Maxime Jean-Baptiste (15 mins)

This is the third in the Proximities series of video works presented by Alice Yard, exploring relationships within the Caribbean region, following previous editions in 2010 and 2015.

Update: Proximities 3 will be reinstalled at WH22 for the final weekend of documenta fifteen, 24 and 25 September

 

Ada M. Patterson, artist in residence

Alice Yard / documenta fifteen

Ada M. Patterson 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.

Within the exhibition space, there will be a different textile shared daily from her series Kanga for the Present, gifting each day with a new message.

=

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. 

Photo: Alessandro Sala, courtesy Centrale Fies

#AliceYardD15  #ayardexchange  #documentafifteen