9 January – 31 March 2017
The work of Alice Miceli addresses issues of time, memory, and violence through formal experimentations, archival research, and investigative travels. She charts the visual, physical, and cultural manifestations of human-induced trauma inflicted on social and natural landscapes to rethink conventional strategies of representation and question the notion of visibility. In Chernobyl Project (2007-2011), she documented the exclusion zone around the site of Chernobyl’s nuclear disaster, an environment deeply affected by invisible radiations, using specially developed photographic processes. Her current research, titled In Depth (landmines) (2014-ongoing), focuses on photographic representation of landscapes contaminated with unexploded landmines and on the physical position of the photographer’s body within these fields. Quietly embedded in the ground, landmines stand as deadly remainders of conflict playing an invisible yet all-determining role. As part of this research, Miceli has travelled to Battambang Province, Cambodia; Medellin, Colombia; and Obudova, in the Šamac municipality, Bosnia & Herzegovina.
Alice Miceli (b. 1980, Brazil) lives and works between Rio de Janeiro and New York. Her exhibition record includes the 5th Moscow International Biennale for Young Art, Russia (2016); 17th Japan Media Arts Festival, Tokyo, Japan (2014); São Paolo Biennale, Brazil (2010); Dense Local, TRANSITIO_MX, Mexico City, Mexico (2009). Miceli was also recipient of the 2014 PIPA Prize, Rio de Janeiro, Brazil. In 2016, she was a fellow at the Jan Van Eyck Academie in Maastricht, the Netherlands.
During her residency, Alice Miceli plans to expand her current project, In Depth (landmines) (2014-ongoing). So far she has conducted field research in Cambodia, Colombia, and Bosnia where she photographed several mine-contaminated areas. The artist plans to examine other sites where landmines and unexploded ordnance remain an active deadly threat. She is especially interested in the landmine situation in Angola, the most heavily mined country in the world as a result of decades of conflict and civil war. The process of gathering relevant materials and managing the complex logistics required by trips to such dangerous areas are all essential components of the work. The artist intends to use her studio to experiment with different spatial presentations of In Depth (landmines) and to initiate new lines of research around the subject of landscape, looking into areas affected by plagues and epidemics and exploring the possibilities involved in their photographic representation.