Opening Hours

Café, galleries and shop: Tuesday – Sunday 11am – 5pm

House: Tuesday – Sunday 12  – 5pm

Free, timed entry tickets to the House are available at the information desk on arrival or online here.

Last entry to the House is at 4.30pm

Access Information & Contact Us

Find access information here. 

+44 (0)1223 748 100
mail@kettlesyard.cam.ac.uk

 

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Find out What’s On at Kettle’s Yard here.

16 November 2019, 2 – 4pm

Meet Camila Iturra, one of Desmond Lazaro’s collaborators on his new commission for Homelands, which draws on stories of migration from the Cambridge community. Find out more about her involvement in the creation of a film about Chilean migration to Cambridge and enjoy a screening of Hora Chilena: Chilean Time (2013).

FREE, booking recommended.

Click here to book now.

About Desmond Lazaro

Desmond Lazaro (b. 1968 Leeds, live and works in Pondicherry) began working in the Rajasthani Pichhvais tradition after studying a BA in Fine Arts at the University of Central Lancashire; MA in Painting at MS University of Baroda; and MA in Visual Islamic and Traditional Art at the Prince of Wales Institute of Architecture in London. He undertook an apprenticeship to Master Bannu Ved Pal Sharma, whose family have practiced the craft of Pichhvais painting for more than seven generations, before returning to the Prince’s School of Traditional Arts in London to pursue a PhD. His research project, entitled ‘Methods, Materials and Symbolism in the Pichhvais Painting Tradition of Rajasthan’ (2005), was published as a book by Mapin India. In 2006, he founded The Traditional Arts Trust which supports families in Rajasthan who continue to produce new Pichhvais paintings in the traditional manner, despite overwhelming odds.

About Homelands

Through photography, sculpture, painting, performance and film, Homelands tells stories of migration and resettlement in South Asia and beyond, as well as violent division and unexpected connections. The exhibition engages with displacement and the transitory notion of home in a region marked by the repercussions of the Partition of India and Pakistan in 1947, and the independence of Bangladesh in 1971, as well as by contemporary migration. The artists explore intimate and political histories, often contesting borders, questioning common pasts and imagining new futures.