hyphae
collaborative
network

Sonic Happening NBR. 1 marked the first iteration of a new series of programs centered on sound, poetry, archival recordings, and live reflection. Tracing Alabama’s cosmic, cultural, and spiritual reverberations through meteor showers, memory, mortality, civil rights, and creative transmission, the program featured works by Alabama Sacred Harp Singers, Casey Roberts, Sun Ra, CAConrad, Felix Profos, Langston Hughes, The Freedom Voices, John Coltrane, John Allan Clark, Charlie Lucas, Kathryn Tucker Windham, Jan Struther, Vera Hall, Eileen Myles, Ella Fitzgerald & Louis Armstrong, and Lawrence Swopes.

through every glitch and eruption gathered works by artists from Alabama and international contexts inside a 19th-century folk Victorian house in Greensboro, Alabama. Set within a building marked by domestic use, institutional history, and its future transformation into a local newspaper office, the exhibition traced domestic space as a site of memory, residue, repair, and material transformation.

Artists: Zebedee (Z.B.) Armstrong, Geraldine Belmont, William Christenberry, Thornton Dial, Susan Fitzsimmons, Beatrice Gibson, Bessie Harvey, Aki Illomäki, Adriano La Licata, Romana Londi, Peles Duo, Roseline Rannoch, Casey Roberts, Eva Seufert, Rob O’Shea, Thomas Lanigan-Schmidt, Purvis Young, Phillip Zach.

Electric Slide unfolded at fragile pa in Palermo with works by Alabamian artist Mose T., Anna Zett, Eva Seufert, and Agatha Wara. Taking its title from a 1980s painting by Mose T., the exhibition followed gestures of repetition, decline, protest, and cultural afterlife across moving image, painting, textile, object, and language. Set within a domestic residency space, it traced how symbols, bodies, and images continue to circulate after the conditions that produced them have begun to shift, erode, or disappear.

HOSUE was developed by hyphae collaborative network with High Water Incorporated and Cinema Fantastique at Studio Abadir in Greensboro, Alabama. Bringing together moving-image works by Gordon Matta-Clark, Eginhartz Kanter, Adam Kaplan, Karen Russo, and Phillip Zach alongside Gus Van Sant’s My Own Private Idaho, the program situated architecture as a psychic, social, and cinematic structure. Set in Greensboro, it placed abandoned houses, experimental building, memory, and desire into proximity.

TV Snacks & a Spirit Box focused on smaller-scale works by Charlie “The Tin Man” Lucas, born in 1951 in Pink Lily, Alabama, at Doom Spa in Berlin. Including paintings from the ongoing TV Snacks body of work, an assemblage from his Spirit Box series, and an audio piece based on a conversation with Lucas, the exhibition marked his first solo presentation outside the United States. Bringing together found materials, autobiographical memory, inherited craft traditions, and Southern self-taught art histories, it situates his practice as an ongoing transformation of lived experience through material, memory, and inherited craft.

The Social Dance launched hyphae collaborative network with a moving-image program at the historic Harmony Club in Selma, Alabama. Featuring works by James Gregory Atkinson, Lasse Lau & Flo Maak, Valentin Noujaïm, and Anna Zett, the program centered communal expression, self-empowerment, disappearing histories, and the social spaces through which communities gather, navigate pressure, and sustain collective memory. The event took place in a building long shaped by dance, cinema, preservation, and public life in Selma.