In Depth (landmines)

In Depth (landmines), 2015-2016

Photography is inherently a formal practice. The capturing of an image no matter how

seemingly intuitive is bound to system involving matters of light, framing, movement
and the suggestion of space. For the last years Alice Miceli has been photographing an
ongoing series of post-conflict areas where landmines play a invisible yet all-determining
role. Therefore the system that she has bound herself to through her choice of medium is
made even more exponential by the way in which she must organize the physical presence
of her gaze in direct relationship to her obscured subject matter. The images she takes are
together a choreography of (literal) steps around these landscapes of potential disaster;
each containing the beauty of its surface as well as concealment of its dormant destruction.

Huib Haye van der Werf

Artistic Director
Jan van Eyck Academie, Maastricht.
Introduction
My work applies investigative travel and historical research to chart the virtual, physical and cultural
manifestations of trauma inflicted on social and natural landscapes, exploring as well the history
and continued use of the media with which they have been represented. In creating installations
and alternative photographic documents on extreme, socio-political issues, I have explored sites
such as the S21 Prison in Cambodia and the Exclusion Zone of Chernobyl. I am currently working on
a photographic project that looks into the space of landmine-fields in diverse contexts around the
world.

Project Concept Description

How do we cling to, arrange, and find coherence in a world of disparate and variable phenomena?
Looking particularly into the problematic space of minefields, how do we hold ourselves together?
From which vantage point?

Landmines are remnants of war, weapons placed to kill and maim, which continue to be dangerous
even decades after a conflict has ended. They are remainders of a cruel logic that is indifferent to
the lived experience of a place. In the world today, there are an estimated one hundred million mines
scattered around seventy countries, and every two hours someone is either killed or injured by one.
In some regions of Cambodia or Angola, for instance, mines outnumber people, quietly transforming
entire landscapes into everlasting impenetrable spaces.

Unlike untarnished remote terrains, what is in these fields is not solitary in the usual sense; whatever
is out there has been abandoned, shut off, and is no longer meant to be seen. However, might
there be other vantage points from which to look? As if against the remnants of an order meant and
placed to occupy territory, there might be some sort of counter-alignment that is possible a way
to look at, inhabit, witness and re-claim these long forgotten, negatively occupied stretches of land?

If photography can be an instant that creates a voluntary memory, a mine that explodes is the
reverse: an instant that annihilates death in the age of its mechanical reproduction. What I am
researching is thus issues of vantage point and perspective (historical, spatial, imagetic). By using
the photographic mediums intrinsic physical and optical constituents as the means to look into how
the parameters that shape an images perspective and depth-of-field inform the physical position
and motion of the photographer in the out-of-frame, at the time and place of the exposure, as the
means to penetrate these spaces where position, i.e. where one steps, is most crucial.

What I propose is an action that is both a performance (that of my own body off-screen) and an
exploration of what this action, the penetration into mined areas, means for the image, creating a
visual narrative with which to experience treks across the topography of mine-contaminated lands
where space, positioning and movement lay interconnected, embedded in the images.
In Depth (Cambodia)
The first series depicts a minefield in the countryside of the Battambang Province, in Cambodia.
It evolves in eleven successive shots going across the field. For this, I calculated all focal lengths
needed to keep a constant magnification size for the central, lone tree in the middle of the
field of vision, relational to every inch on the ground for that location. Crossing this pool of
hypothetically endless vantage points with the actual mine-contamination map for that particular
site resulted in eleven possible positions. Hence, there are eleven shots.

I worked in collaboration with the Cambodian Mine Action Centre and Victim Assistance Authority,
the governmental organization in Cambodia that is in charge of the national demining program.

The video below documents the work as it was recently displayed at the Museum of Modern Art,
in Rio de Janeiro.

Please follow the link: https://vimeo.com/107814647

Exhibited:
Prmio Pipa (Pipa Prize), 2014. Museu de Arte Moderna do Rio de Janeiro (MAM-RJ)

Collections:
IP Capital Partners Institute, Rio de Janeiro, Brazil

In Depth (landmines) / Cambodian series, 2014

pigment print on Baryta paper
ed 1/5 + 1 AP
11 photographs, 73 x 109 cm each
In Depth (Colombia)
The second series looks into mine contamination in Colombia. I travelled to affected areas in
Antioquia, around Medellin, to regions once dominated by the FARC, who would mine sites
as a defense mechanism against the army. Systematic identification of explosives has yet to
be completed. As a result, the marking that has been so far applied is literally in the land:
that is what the red sticks we see in the images stand for. Like the lone tree in Cambodia,
the central red stick was my guide as I gradually advanced into the mined area in the jungle.
This series is composed of seven images.

I worked in collaboration with the HALO Trust Demining Program in Colombia.

for more information on the series, please click on the link below:
http://tinyurl.com/hbo2yby

Exhibited:
5th Moscow International Biennale for Young Art, 2016. Moscow, Russia (forthcoming)
Basta!, 2016. Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, CUNY,
New York, USA
Intersections (after Lautramont), 2015. Cisneros-Fontanals Art Space, Miami, USA

Collections:
CIFO,Cisneros-Fontanals Foundation, Miami, USA.
Moscow International Biennale Foundation, Moscow, Russia

In Depth (landmines) / Colombian Series, 2015

pigment print on Baryta paper
ed 1/5 + 1 AP
7 photographs, 73 x 110 cm each
In Depth (Bosnia)
The third series looks into mined areas in the European context, namely heavily affected regions
in Bosnia & Herzegovina, a lingering mine-contamination caused by the armed conflict associated
with the break-up of former Yugoslavia in the early 1990s. This series was shot in nine steps in
the mine-affected community of Obudovac, in the Samac municipality.

I worked in collaboration with the Norwegian Peoples Aid Humanitarian Disarmament Campaign
in BiH.

In Depth (landmines) / Bosnian Series, 2016

pigment print on Baryta paper
ed 1/5 + 1 AP
9 photographs, 73 x 110 cm each
Prmio Pipa (Pipa Prize), 2014. Museu de Arte Moderna do Rio de Janeiro (MAM-RJ)
Intersections (after Lautramont), 2015. Cisneros-Fontanals Art Space, Miami, USA
Forthcoming 2016

In Depth (Angola) (2016, to be produced)

For the next and final step of the research, Im planning to examine the mine contamination
problem in Angola, which remains amongst the most heavily affected country on the planet,
as a result of more than forty years of conflict and civil war, with mines laid by several
different groups throughout the whole territory. The most concerned areas are those with
the lengthiest wars, such as Cuando Cubango, Bi and Moxico, and yet, all other provinces
in Angola also remain affected. As a Brazilian artist, I would like as well to complete the
research by working with the landscape of former Portuguese colony.

I am planning to develop this step in collaboration with the Norwegian Peoples Aid
Humanitarian Disarmament Campaign in Angola.
This is the final text for the exhibition catalogue Intersections (after Lautramont), section:
Alice Miceli in conversation with Donald Johnson-Montenegro, published in December
2015 by the Cisneros-Fontanals Art Foundation, in Miami. Donald Johnson-Montenegro is
the artistic director of Luhring Augustine Gallery, in New York.

Alice Miceli and Donald Johnson Montenegro in Conversation

DJM: Im interested in your notion of a politics of vision, which you have expressed
as a central concern of your practice. Your haunting piece, 88 from 14.000, with
the archive of portraits of Cambodian war crime victims, brought up a number of
complex ethical questions. For example, how do you as an artist and we as viewers
address such an archive: a chilling, systematic documentation of prison camp
detainees, taken before their merciless execution by their very executioners? Can
you tell me a little bit about your exploration of a politics of vision and how you see
your work intervening in, highlighting, or complicating these politics?

AM: When politics is referring to the origin of the word in Greek terms as the agency
of a citizen in a city, in the world I think that our vision, how we see, and the things that
we see, are embodied, or embedded in politics, yes. It seems to me that this is true even
for the first level of vision, say, the optical, physical phenomenon of human vision (reflected
light comes into our eyes and forms an image in our brain). Even that unmediated physical
phenomenon is, in fact, mediated by a context, by a culture, by built, learned cognition,
by language, by how it is that we learn to see and decode the things that we do see, and
thus attribute meaning to them (spatial meaning for instance, what is far, what is close). If
that is the case, I think it is even more dramatic when that vision is mediated by a human-
made tool (from a simple pinhole camera to a full fledged SLR, or any kind image-recorder,
really). That human-made tool, which sees already, comes embedded with someone elses
intention, attention, and assumption of how that instrument is supposed to be used, and
it will be already pre-disposed to create a certain kind of image. There are layers and layers
of history in it.

In the case of my work with the S 21 prison mug-shots, given that I overtly chose to deal
with already existing images that belong now to an archive, my agency or the poetic
operation of the work needed to be dislocated. This operation could no longer be placed
in the image-making, since the images existed already; they were produced with the vilest,
most horrific, deranged of intents, which was to organize mass-murder an intent with
which I believe no one can sanely align oneself. Because of all of this, I knew my action
needed to be, then, in the re-mediation of the images. The question was in how to show
them. I first saw the S21 prison images in a documentary class at university in Rio, many
years ago, as a MA student. I was very impressed by the people in the images, who were
facing death and knew it. And by the images themselves, too. I remember thinking, at the
time, no matter what horrific intent these images were produced with, these were the last,
really the last, images of each one of these people in life. They touched me very much. I
felt addressed, and it was an unbearable address. To this day, it still is. Years later, I had
in mind that I wanted to do work about death. Death with a capital D, as in the John
Donne poem (the Holy Sonnet 10). Death as the ultimate limit. The only thing we are
certain of, but for which we are not present, because when it finally is here, we no longer
are. And I remembered the S21 images. I think the reason I felt so personally addressed by
them and the reason it is so unbearable is that, by definition, upon being photographed,
to be then mercilessly executed at Tuol Sleng, the people in those images were, precisely,
not addressed. Their humanity was denied. It seems to be the case with perpetrators of
genocide that they strip their victims of any humanity even before they kill them. So that
responsibility lay now with us, the people who look at the images at present. And it lay with
me, too, as an artist who chose to look at the images and to display them, in the choices
involved in how to address, restore and remediate them. My work with the S21 images is
an attempt at that.

An extract from 88 from 14,000 can viewed at https://vimeo.com/51092609

DJM: In your Chernobyl project, and in your new project with the minefields, you
focus on spaces that have been rendered impenetrable or inaccessible as a result
of a human-induced trauma to the landscape. What interests you about such
spaces? Is it primarily the conceptual challenge of using your chosen medium of
photography to capture what cannot be seen? Are you interested in the limitations
of photography as a formal concern as much as a stand in for political, social,
cultural, or other limitations?

AM: All of the above. In Chernobyl, due to the fact that, for me, regular photographic
cameras failed in really seeing anything in that particular environment, precisely because it
is one that is so pervasively filled with nothing (invisible contamination caused by gamma
radiation), I wondered whether it was going to be possible to touch it otherwise to touch
that which is everywhere but is never really perceived in any way, except for the traces of
destruction it left behind. I felt that, in that case, I had to create my own tools to see it,
and it needed to be from scratch. After years of working on this project, I decided to look
back to the start, to the thing that had fascinated me the most that ungraspable nothing:
the negative space. I asked myself, what other kinds of impenetrability remain out there?
For Chernobyl remains in the present tense that land is, and will be, contaminated long
after we all die. Looking at minefields is for me, subsequently, the next step. In their case,
the impenetrability has moved from vision to space, and that brings with it a whole set of
different questions, as to how this spatial problem translates into image. Unlike remote but
untarnished landscapes, these are urgent, negatively occupied spaces, claiming pieces of
the world as we speak.

DJM: The first chapter of your current project In Depth (landmines) focuses on a
landmine contaminated site in Cambodia. The specific landscape that you chose
to capture in your series of eleven photographs is an open field, accentuated
by a single tree in the center of each composition. While these photographs at
first appear to be taken from the same vantage point, we learn that in fact you
moved closer to that lone tree with each successive shot, navigating your way
through the landmines and adapting your equipment and its settings to keep the
general composition as consistent as possible. For every movement of your body
further into this impenetrable space, there was a mechanical counter adjustment
a balance or negotiation between the landscape and the camera in order to
create this effect. So as your body progressed towards the tree, the field of vision
nevertheless remained virtually static, making it seem as though the space was, in
fact, impenetrable to you.

AM: I think that is an impression that might be given off at first glance, nevertheless not
necessarily when one looks again, with attention. There is a differentiation: the proportions
of the image do remain static, yes, and for a reason; the field of vision, however, is altered
with each step, and so, too, the connection between the elements in the image, as they
relate to one another and especially to the lone tree in the middle, towards which I walked
across the minefield. In the foreground, as my body moves deeper into the space, the
front trees gradually disappear, while in the background, the mountains, on their turn,
progressively recede.

The first image in the series, shot with my longest telephoto lens, was taken as I stood at
the entrance of the mined area. I could have chosen, as a safety measure, to stop there,
to produce only one sole image capturing a horizon, a depth, that I could gaze over, but
perhaps never attain. I wanted, however, to reach it. That is the performative side of the
work, where my body, as the photographer in the out-of-frame, is not just gazing over an
impenetrable depth, but is actually moving trough it, producing images from within, and
asking, at the same time, how this penetration translates into image.

What I am exploring is, through the photographic mediums intrinsic physical and optical
constituents, issues of vantage point and perspective the relationship between where
you stand, the focal length of the tool that you hold, and how far, or how close, you
are to your subject. I think it was Robert Capa who famously said that if your pictures
were not good enough, it was because you were not close enough. An-My L, nowadays,
states the contrary. I think its interesting that, even if from opposite ends, they are both
stressing questions of vantage point. And so am I. Given that all images are a relationship
between depth and flatness, I am concerned by how the parameters that shape an images
perspective and depth-of-field inform the physical position of the photographer in the out-
of-frame, at the time and place of the exposure, in a situation (the mine-fields) where
position, i.e. where one steps, is most critical.

Technically, the focal length of a lens determines its angle of view, and thus how much the
subject will be magnified for a given position. Wide-angle lenses have short focal lengths;
telephoto lenses have longer ones. Wide-angle can indicate close proximity to subject, while
telephoto can be done from a distance. For that site in Cambodia, I calculated all focal
lengths needed to keep constant magnification size in the image for one central element
(the lone tree), for every inch on the ground, aligned on a same axis. Intertwining this pool
of hypothetical vantage points with the actual mine-contamination map for that specific
area, there were eleven positions in which to step, as I walked across, towards the tree
in the distance. For the tree to remain the same size while I changed focal length, I was
obliged to walk towards it, and, in this way, to gradually advance into the minefield.
I also think that the issue of Robert Capas death should not go unnoted. It goes without
saying that he is considered one of the greatest war photographers of all time, a guy that
pretty much set the standard for many others that came after him in the genre of war
photojournalism. While on assignment for Life magazine in Indochina in 1954, he stepped
on a landmine and was killed, still holding his camera. The last image in his film roll has long
fascinated me: it captured an open field extending towards a horizon that he, himself, never
reached. As a photographer taking on the task to look at these kinds of spaces, his death
and the problem of his last image were an important entry point for me when I first started
thinking about minefields. There is an interesting spatialization of time, or temporization of
space, that occurs when considering mine-contaminated land: in every inch of that ground,
there might be someones last instant, last instants spread in space, as far as the eye can
see. If you die, you cease to exist temporally, but in the situation of a minefield it means
that spatially you dont get to go any further. I wanted to take the problem and carry it on
from where he left off.

Furthermore, when land is taken over by mine contamination, it has been shut off and
appropriated in the function of territorial acquisition, at the detriment of all other values.
Thats an occupation that is indifferent to the lived experience of a place, and to the people
that might have once inhabited it. I think that in carrying out their job, the de-miners then
become the first ones to be able to truly inhabit such spaces again, because theirs is an
experience that is incorporated and walked through. With their guidance, my experience
is likewise of a walked through, embodied engagement with the land. The attempt is to
create a view that counter-aligns occupation, and that, even if only symbolically, claims the
land back, given that a point of view from within has now been offered.

DJM: The genre of landscape photography (and its predecessor in painting) is

associated with notions from the tranquil and bucolic, to the grand and awe-
inspiring, and the sublime. Read outside of its context, your landscape photographs
from Cambodia might at first read as peaceful and straightforward. Your use of this
genre, paired with the technical possibilities of photography that you employed,
seem further to obscure or muffle the threat that lurks beneath the ground and the
potential harm to which you subjected yourself by entering the area. In this way,
your strategy here creates a parallel with the hidden nature of the landmines. Can
you speak more about this perhaps in contrast to how you resolved the problem
of capturing the unseeable in your Chernobyl project?

AM: The title In Depth (landmines) is an active part of the works formulation in the sense
that it places the images in that context. In the series itself, what is being addressed is the
spatial consequences caused by mine contamination. As I mentioned above, that is also
why the work exists as a series, as opposed to one sole picture, given that the gap between
each image is of equal importance to what has been captured in them. I think that what the
viewer does with these elements in relationship to how they see the images is for them to
discover.

There is a risk, as in radical sports, but this was a calculated one. Something could always go
wrong, but Ive done my best to go prepared. I went across the mined areas accompanied
by the de-miners who carry out the extremely dangerous task of identifying and later
disarming the mines, and who therefore know the land best. Risk here is a given of the limit
situation I chose to look at, and implicate myself in. It is what ties the series together, as
the latent stimmung of that landscape.

In the Chernobyl Project, the operation was a problem of the unseeable. That is where the
impenetrability was. Therefore, that required an action from me in the image making, the
attempt to capture marks of that unseeable, on film. In the minefields, the question is no
longer in how to create an image of that which cannot be seen, because we can see the
land even if the mines are hidden. One can gaze over and even capture that space in an
image, like Capa did instants before his death. That space is now the problem. The question
then lies in the mined depth to be walked trough, represented in the image.

DJM: In the second chapter from this body of work, you investigate a site in
Colombia. How did the more rugged topography affect the conceptual or logistical
parameters of the work you produced there?

AM: Yes, in Cambodia the contaminated site in Battambang was an open field, already
mapped, and therefore much easier to navigate. In Colombia, where contamination by
anti-personnel mines remains a huge problem, the demining campaign has just started,
and there is still a lot of mapping to be done. It is also the case that mined areas around
Medellin, where I traveled to, are located uphill in the jungle, in regions once dominated
by the FARC, who would mine sites as a defense mechanism against the army, which was
following them. Taking this into account, and because the systematic identification and
mapping of explosives has yet to be finished, the marking that has been so far applied is not
in maps, but literally in the land: that is what the red sticks we see in the images stand for.
The central one was my guide as I gradually advanced into the mined area.

I like also to think in musical terms, given that the work is dealing with problems of interval.
At first, there is an equal, regular division of space (like time in a musical score) in the
relationship between vantage points, focal lengths and constant subject magnification in
the image. In the Colombian series, the constant is the central red stick. All of this is then
made actual and experienced trough the uneven mine contamination in the site. In theory,
I could produce endless images from A to B, but in reality, the mine contamination only
allowed for seven vantage points in the ground. This created a tension between the equal
division of space and the way that irregular beat of the contamination forced me to cross.
I also see each landscape as having its own timbre (rugged and dense, as in Colombia, or
clear and open, as in Cambodia). These are the particularities of each place. And the specific
contamination they have been subjected to has its own sequence of intervals, telling me
how to move.

Additional documentation in the form of an illustrated conversation between Alice Miceli

and architectural designer Karen Kubey (Pratt Institute, New York) can be viewed at http://
workuntitled.com/micelikubey.html
Alice Miceli is a Brazilian artist, born and raised in Rio de Janeiro.

Her exhibition record includes the Bienal de So Paulo, Galeria Nara Roesler, in So Paulo,
and Max Protetch Gallery, in New York. Her work has been shown widely, including the Japan
Media Arts Festival, in Tokyo, the TRANSITIO_MX Festival, in Mexico City, the Transmediale
Festival, in Berlin, and Documenta XII, in Kassel, among others. Fellowship awards include
the MacDowell Colony, the Bogliasco Foundation, Bemis Center for Contemporary Arts,
Djerassi, and the Dora Maar House. An extended conversation with the artist has been
published by the Skull Sessions, in New York. Alice is the recipient of the 2014 PIPA Prize,
in Rio de Janeiro, and the 2015 Cisneros Fontanals Art Foundation Grants & Commissions
Award, in Miami. She is currently a fellow at the Jan Van Eyck Academie in Maastricht, in the
Netherlands, and at the Mejan Program, from the KKH Royal Academy of Arts, in Stockholm,
Sweden.
Born in 1980, Rio de Janeiro
Currently lives between Maastricht, New York and Rio de Janeiro

Education
2003-2004
PUC-RJ, Histria da Arte e Arquitetura no Brazil, Post-graduate degree, Rio de
Janeiro, Brazil

1999-2001
ESEC, Ecole Suprieure dEtudes Cinmatographiques, Art and Electronic Media,
Bachelors, Paris France

Major Exhibitions (selection)

2016
5th Moscow International Biennale for Young Art, Russia.
Basta! Anya and Andrew Shiva Gallery at John Jay College of Criminal Justice, CUNY,
New York, USA.

2015
Intersections (after Lautramont), Cisneros-Fontanals Art Space, Miami, USA.
Visualismo Festival, public-art commission, Rio de Janeiro, Brazil.

2014
PIPA Prize, solo project, Museum of Modern Art, Rio de Janeiro, Brazil.

2013
Strangely Familiar, solo project, Tomie Ohtake Institute, Sao Paulo, Brazil.

2011
88 from 14,000, solo project, Max Protetch Gallery, New York, USA.
Collapse, solo show, Galeria nara Roesler, Sao Paulo, Brazil.

2010
Chernobyl Project, Sao Paulo Biennale, Brazil.
Documenta XII Magazines, Documenta Halle, Kassel, Germany.

Awards
2015
Cisneros-Fontanals Art Foundation Grants & Commissions Program Award, Miami

2014
5th PIPA Prize, IP Institute & Museu de Arte Moderna (MAM-RJ), Rio de Janeiro.
2007
Festival Videobrasil, So Paulo

2006
Sergio Motta Art and Technology Award, So Paulo

Publications (Selection)
2015
Alice Miceli in Conversation with Karen Kubey, published by Work Untitled, Miami.
http://workuntitled.com/micelikubey.html
Intersections (after Lautramont), Donald Johnson-Montenegro and Alice Miceli in
conversation. Exhibition catalogue, Cisneros-Fontanals Art, Miami.
https://workdocumentation.files.wordpress.com/2014/03/in-depth_further-doc.pdf

Paisagens Assassinas (Murderer Landscapes), Select Magazine N.22. Critical

essay by Agnaldo Farias, Sao Paulo. https://workdocumentation.files.wordpress.
com/2014/10/select22.pdf

Other Photographs in Brazilian Art in the 21st Century. Cobog, Rio de Janeiro

2012
The Skull Sessions N.02, in conversation with Alice Miceli. Skull Sessions, New York.
https://workdocumentation.files.wordpress.com/2014/03/l_miceli015.pdf

2011
Images of Chernobyl. Critical essay by Gunalan Nadarajan, Several Pursuits, Berlin.
https://workdocumentation.files.wordpress.com/2014/03/nadarajan-chernobyl.pdf

Public Talks (Selection)

Mejan Program Open Seminar, Alice Miceli in conversation with Matts Leiderstam
and Nina Mntmann, Royal Institute of Art, Stockholm, May 3, 2016.
http://www.kkh.se/event/alice-miceli-in-discussion-with-matts-leiderstam/

ASCA Transparency/Opacity, Amsterdam School for Cultural Analysis, March 22,

2016.

Research Week, Royal Institute of Art, Stockholm, January 25, 2016.

Americas Society, The Impenetrability of Landscape, New York, November 30,

2015.
http://www.as-coa.org/events/impenetrability-landscape-talk-artist-alice-miceli

Cannonball Residency, Miami, August 12, 2015.

http://www.cannonballmiami.org/calendar/2015/8/12/public-talk-by-alice-miceli

SVA, School of Visual Arts, Visiting Artist, New York, June 11, 2015.

RU Residency, Transferred Presence, panel discussion, New York, May 5, 2015.

http://residencyunlimited.org/programs/transferred-presence/

Grants & Fellowships (Selection)

2017
Third cycle of artists-in-residence, NTU Centre for Contemporary Art, Singapore.

2015/16
Jan Van Eyck Academy, Maastricht, Netherlands.
Mejan Residency, the Royal Institute of Art, Stockholm, Sweden.

2015
Cannonball, Miami, USA.
Residency Unlimited, New York, NY, USA.

2014
Brown Foundation Fellowship Program at the Dora Maar House, in Mnerbes,
France, by the MFAH, Museum of Fine Arts, Houston, TX, USA.
Bogliasco Foundation Fellowship Program, Genoa, Italy.
Bemis Center for Contemporary Arts, Omaha, NE, USA.
2013
Fine Arts Work Center, Provincetown, Massachusetts, USA.
Djerassi Resident Artists Program, Woodside, CA, USA.

2012
MacDowell Colony, Peterborough, NH, USA.

2011
Sacatar Institute, Itaparica, Bahia, Brazil.

2005
UNESCO-Aschberg Bursaries for Young Artists Program - HIAP, Helsinki, Finland.

Other Professional Activities

2015/16
Member of the Bogliasco Foundation Fellowship Advisory Board and Selection
Committee, New York.

2015/16
Member of the selection panel for the Brown Foundation Fellowship Program at the
Dora Maar House, Houston.

2015
Member of the Pipa Prize Nominating Committee, Rio de Janeiro.

Permanent Collections
Cisneros-Fontanals Foundation, Miami, USA.
Moscow International Biennale Foundation, Russia.
IP Capital Partners Institute, Rio de Janeiro, Brazil.
Paul & Annette Smith, Board Presidents of the Bemis Center for Contemporary
Arts, Omaha, USA.
Museu de Arte Moderna (MAM-RJ), Rio de Janeiro, Brazil.
 Alice Miceli is represented by Galeria Nara Roesler

so paulo -- avenida europa 655 -- jardim europa 01449-001 -- so paulo sp brasil -- t 55 (11) 3063 2344
rio de janeiro -- rua redentor 241 -- ipanema 22421-030 -- rio de janeiro rj brasil -- t 55 (21) 3591 0052
new york 47 w 28th st 2nd floor -- 10001 new york ny usa -- t 1 (646) 791 0426