Arrivants: Kelley-Ann Lindo

Kelley-Ann Lindo - Love Inna a Barrel
Kelley-Ann Lindo – Sending Love Inna a Barrel (2018), in Arrivants at the BHMS
Sending Love Inna a Barrel (2018)
Mixed media installation
Variable dimensions

The Evil We Know (2017)
Single channel video with sound
Accessible on line via QR code
Kelley-Ann Lindo - Love Inna a Barrel (2016-2018) - mixed media installation
Kelley-Ann Lindo (Jamaica) – Love Inna a Barrell (2016-2018), mixed media installation – photograph courtesy of the artist

Kelley-Ann Lindo was born in Kingston, Jamaica, in 1991, and is based there. She was 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 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.

skippy peanut butter
Kelley-Ann Lindo – The Evil We Know (2017) video still

Artist’s Statement

Traumatic memories are forever susceptible to change each time there are attempts to recollect them, and it is that fragility I have explored, through the use and manipulation of fragile materials. My ongoing body of work seeks to establish a conversation around the dynamics surrounding the ‘barrel children’ syndrome within the Caribbean culture – a term referring to children who have been left behind by one or both parents who have migrated. The term also reflects the parents’ need to disguise their absence with the provision of material goods and remittance for the children. This body of work raises questions about migration, Caribbean family structure, material relationship between experience, memory, story and identity.

Through abstraction, I have absorbed the tradition of remembrance art into daily practice as an act of catharsis. The works do not reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted.

qr-code - Lindo - The Evil We Know
Please scan with your smart phone to view the video The Evil We Know
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Arrivants: Simon Tatum

Simon Tatum - Tropical Forms (2018) - detail
Simon Tatum (Cayman Islands) – Tropical Form (2018), wall-based drawing installation – photograph Jonathan Tatum

Simon Tatum was born in George Town, Grand Cayman, Cayman Islands, in 1995, and is also based there. He was educated at the University of Missouri (BA, 2017). His solo exhibitions to date are Discover and Rediscover (2016), at the University of Missouri and Looking Back and Thinking Ahead (2017), in 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.

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Simon Tatum installs Tropical Form at the Barbados Museum and Historical Society (photograph courtesy Karen Brown)

Artist’s Statement

Tropical Forms are monotone paintings designed to act as organisms by adapting to the dimensions of their exhibition space and incorporating materials and references from the various locations they travel. The concept was created by Tatum during a residency in Leipzig, Germany. While in Germany, he learned that male Cuban contract workers were sent to Leipzig to work within the spindle factories because of a trade deal between Cuba and the German Democratic Republic. The Cubans spent limited time in Leipzig, but several of them intermixed with German locals and had children.

Moreover, Tatum is becoming interested in narratives of promoted migration caused by political matters and how such movement encourages sexual encounters and coupling between different cultural groups. Tatum realises that migration is historically recognised by both positive and negative circumstances, but feels that hybridising should be embraced and his Tropical Forms are attempted shrines for acts of hybridising.

“Installation in Progress”

 

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.

VP