Ryan Kearney is a curator and writer based in Nottingham, UK. Ryan’s on-going research centres on queer night-time spaces.


Print | A Map of Queer Brum, Nov 2019

Exhibition | If Memory Serves, Birmingham Hippodrome, Sep 2019

Workshop | Campania, an explanation and a history, Recent Activity, May 2019

Exhibition | The Club’s Conception (or How the Egg Was Cracked), Recent Activity, May 2019

Exhibition | Three Models for Change, Stryx Gallery, Jun 2018

Performance | Rainbow Flag/Trojan Horse, Recent Activity, Jun 2018

Exhibition | A Prelude, Centrala, May 2018

Screening | Queering the Archive, Recent Activity, Nov 2017


Artist Talk | Denzil Forrester, Nottingham Contemporary, Feb 2020 →

Keynote | Paul B. Preciado and Jack Halberstam, Nottingham Contemporary, Feb 2020 →

Artist Talk | Diane Simpson, Nottingham Contemporary, Feb 2020

Artists’ Film | The Otolith Group, Nottingham Contemporary, Nov 2019

Contemporary Conversation | Form and Frontier, Nottingham Contemporary, Nov 2019

Conference | Architectures of Education, Nottingham Contemporary, Nov 2019

Artists’ Film | Jarman Award Touring Programme 2019, Nottingham Contemporary, Oct 2019

Exhibition | From.Between.To, Gallerija Vartai, May 2019
Performance | Territorial Symphonies, Block Universe, 58th Venice Biennale, May 2019

Exhibition | From.Between.To, Parafin, Apr 2019 →  


Review | Love and Solidarity at Grand Union, this is tomorrow, Apr 2020

Text | Some Kinda Love, Celine Gallery, Oct 2019

Review | Ian Giles: Trojan Horse/Rainbow Flag, this is tomorrow

Exhibition Text | Indre Serpytyte: From.Between.To, Parafin and Galerija Varta, Apr 2020

Text | The ‘Gale Comes of Age, In The Pink, Grand Union and SHOUT Festival, Nov 2018

Review | The Oscar Wilde Temple at Studio Voltaire, this is tomorrow, Oct 2019

info [at] ryankearney.co.uk



11 - 16 Jun 2018
158 Fazeley Street
B5 5RT

↑ Poster by Chris Alton

Chris Alton, Ian Giles and Greta Hauer
Co-curated by Ryan Kearney, Alice O’Rourke and Ariadne Tzika

In collaboration with Grand Union and the University of Birmingham, Three Models for Change, took place at STRYX in Minerva Works, Digbeth, June 2018.

Three Models for Change was a group exhibition asserting the importance of historical awareness in establishing future potentials of communities. The works in this exhibition fluctuated between three actual and staged narratives: the formation of a fictional Quaker-punk band; the staging of cross-generational Queer histories; the uncertainty surrounding a newly formed volcanic island and its territorial disputes.

References to utopian moments, groups, and places question current socio-political systems, offering possible new ways of thinking and being. Three Models for Change is an ambiguous statement and this exhibition embodies neither utopian nor pragmatic outcomes, but instead provides a platform of shared histories to stimulate thoughts around alternative futures.

This exhibition included existing work and new commissions by artists Chris Alton, Ian Giles and Greta Hauer.

Chris Alton’s Still Anarchy brings together two seemingly separate groups, Quakers (mid-17th century) and Punks (mid-1970s). What at first appears to be a contradictory juxtaposition, both groups share several key similarities: they originate from periods of socio-political unrest and enact resistant strategies. This commissioned installation stages the potential of a fictional Quaker-punk band imagined by the artist.

Ian Giles’ film After BUTT engages discussions on BUTT Magazine (2001-2011), the shared nature of distributed ephemera, and Queer permanence. Recorded, transcribed, re-enacted: the men depicted, each of whom were cast based on their resonance with the text, perform Giles’ conversations with the magazine’s founders. Presented in an exhibition of speculative change, it encompasses the importance of intergenerational awareness within communities and how this can influence a movement towards Queerer futures.

Greta Hauer’s Vigorous Activities explores the potentials of Nishinoshima, a newly formed island comprised of volcanic mass (November 2013), 1000km off the coast of Japan. Due to its distance from mainland Japan, Nishinoshima has expanded the Japanese Economic Zone, and is continuing to do so, heightening the existing conflict within the South China Sea. A topographical model, set of fictional writings and commissioned video work re-enact the rise of the island and its disruption of the seemingly utopian model.

    Review for New Art West Midlands by Laura O’Leary
    In conversation, New Art West Midlands

    Photos by Patrick Dandy