The wall for Leasho Johnson’s mural has been prepped. Bajan artist Ewan Atkinson, who is also represented in the exhibition, in foreground.
Cosmo Whyte’s installation in progress, in a former military prison cell in the historic garrison building of the Barbados Museum and Historical Society
Kelley-Ann Lindo and another artist in the exhibition, Cosmo Whyte
Simon Tatum at work on his installation Tropical Forms
Kelley-Ann Lindo’s latest incarnation of Love Inna a Barrel is partially installed
One of the most taxing, and exciting, parts of curating and organizing an exhibition is the installation, or “the install,” as it is now commonly called. It is taxing, because it takes long hours, hard physical work and acute problem-solving skills, as problems inevitably arise. But it is also exciting to see an exhibition which has been planned for a long time taking shape, and to see how all its elements and the context in which the exhibition is shown start talking to each other, which brings out new meanings and interpretations.
Right now, we are at the peak of the install of Arrivants, which opens to the public on November 9, but has an opening reception on November 8, as part of the MAC International Museums conference. So we have to be ready by November 7, and the race against time is on in earnest.This blog post includes a few photographs of the install, all taken today, and illustrates some of the many “moving parts’ of this exhibition project, including the diverse (and hard-working) cast of artists, curatorial team members and volunteers that is presently at work.
Part of the purpose of this blog is to allow members of the curatorial team to reflect on the experience, as well as on the significance of the exhibition and on the general issues involved in exhibition-making in the Caribbean. We have recruited two curatorial interns, both young artists and emerging curators, Kelley-Ann Lindo from Jamaica, and Simon Tatum from the Cayman Islands, to serve as the main contributors to this blog–part of this project is also to contribute to curatorial capacity-building in the Caribbean region. Both are also artists in the exhibition.
Simon Tatum was born in George Town, Grand Cayman, Cayman Islands, in 1995 and is based there. He was educated at the University of Missouri (BA, 2017). His solo exhibitions to date are Discover and Rediscover (2016), within the University of Missouri and Looking Back and Thinking Ahead (2017), within the National Gallery of the Cayman Islands. Various group exhibitions include Open Air Prisons (2016), LACE Gallery in Los Angeles, California, and Sense of Place (2018), Spinnerei Halle 18 in Leipzig, Germany. He was part of the Caribbean Linked IV (2016) residency programme in Oranjestad, Aruba. Moreover, he currently serves an Assistant Curator at the National Gallery of the Cayman Islands.
Kelley-Ann Lindo was born in Kingston, Jamaica, in 1991 and is based there. She has been educated at the Edna Manley College of the Visual and Performing Art (BFA in Painting, 2015). She worked as a gallery assistant at the CAGE Gallery, as a curatorial assistant at the National Gallery of Jamaica, and currently as an assistant visual arts coordinator at the Multicare Youth Foundation and a lecturer at the Edna Manley College, all four in Kingston, Jamaica. She has been artist-in-residence at Alice Yard, Port of Spain, Trinidad (2016), at NLS, Kingston, Jamaica (2017) and at Blaqmango Consultancy, Kingston, Jamaica (2018). Her work has also been exhibited at the National Gallery of Jamaica (Jamaica Biennial 2017), Edna Manley College of Visual and Performing Arts (Final Year exhibition, 2015), and the College’s CAG[e] Gallery (2014). Lindo produces large, mixed media installations, but also works in drawing and print media, and in video.
Other contributors to this blog are: Karen Brown, Senior Lecturer in Art History and Museum & Gallery Studies, Director, Museums, Galleries and Collections Research Institute, University of St Andrews, Scotland, Coordinator, EU-LAC-MUSEUMS project; Alissandra Cummins, Director of the Barbados Museum and Historical Society and Principal Investigator for the EU-LAC Museums project in the Caribbean; Allison Thompson, art historian and curator, and lecturer in the fine arts department of the Barbados Community College; Veerle Poupeye, art historian and curator, and lecturer in the School of Visual Arts, Edna Manley College in Kingston; and Jessica Taylor, a London-based curator, who serves as Exhibition/Project Assistant. Allison Thompson and Veerle Poupeye guest-curated the Arrivants exhibition, and Veerle Poupeye is coordinating this blog.