Conceived by Kamin Lertchaiprasert, the 31st Century Museum of Contemporary Spirit is an art project and conceptual museum.

Alfredo Jaar is an architect, photographer and filmmaker whose work in a range of mediums brings attention to issues that are overlooked by the media or suppressed by state and transnational structures of power and exploitation.

Anawana Haloba often investigates the social, economic, ideological and cultural conditions of post-independence and the rapid shifts in subjectivity brought on by globalisation.

Adriana Bustos’ practice draws on ideas taken up in areas of anthropology, history, science, popular culture, fiction, biographical writings, and academic and intuitive knowledge.

For SB14, Otobong Nkanga with Emeka Ogboh collaborate on a series of multimedia interventions in the heritage house Bait Al Aboudi and the surrounding grounds.

With exhibition format and other museological methodologies as his medium, Alessandro Balteo-Yazbeck’s multifaceted practice incorporates the activities of a researcher, archivist, historian and curator.

Aline Baiana’s SB14 installation draws parallels between the construction of hydropower plants in Brazil and Lebanon, both of which would endanger rivers and the areas of biodiversity they support.

As an artist, curator, professor and writer, Christopher Cozier explores the Caribbean as a place that has shaped and is shaped by the world.

Popularly characterised as examples of Third Cinema, Kidlat Tahimik’s artistic experiments hone an approach to storytelling that does not require a singular time or end

Sharjah Biennial 14 presents 13 of Shemza’s works created between 1961 and 1969, surveying his diverse influences during this transitional period and the decisively modern diasporic perspective examined through the prism of both Islamic and Western aesthetics.

Best known for her performance work that embodies a feminist perspective, Tracey Rose often conceives of rich characters who inhabit tableaus as visceral, complex and unnerving as the worlds from which they are torn.

Astrid Klein is best known for her large-format black and white ‘photoworks’—composite images comprised of magazine and newspaper photographs subjected to different printing and processing techniques in the darkroom.

Through videos, drawings, installations and public interventions, the work of Alia Farid explores contemporary urban life against the background of the complex colonial histories of Kuwait and Puerto Rico, her two countries of origin.

Spanning nearly five decades, Barbara Kasten’s conceptual practice has centred around photography and an exploration of the nature of perception, often manifested through the interplay of two- and three-dimensional spaces.

For SB14, Martiel presents two commissioned projects that further his research on the African diaspora, systems of value and cultural histories.

In video, drawing, installation and participatory projects, Roslisham Ismail (aka Ise) employs expressions of popular vernacular with an eye toward unpacking the complex, and often alternative, cultural roots of a place.

As an artist and researcher, Antariksa has focused on the history of Japanese-occupied Southeast Asia during World War II, 1941-1945.

Cory Arcangel is a multimedia artist whose interest in digitals-technology-based art developed as a result of natural inclination and the advent of computers and the Internet.

Heather Phillipson’s work often appears as associational clusters, organised spatially, that combine single- and multi-screen videos, mass-produced objects, web images, audio loops, written and oral texts, and physical and digital graphics.

Candice Breitz has spent the last twenty years reflecting on the impact of moving images within a variety of social and political contexts.

For SB14, Eisa Jocson focuses on the Overseas Filipino Musician (OFM), a term describing those who perform Western music for audiences at hotels, restaurants, clubs and theme parks throughout Asia and the Middle East.

Ian Cheng is best known for his computer-generated simulations and live episodic works that employ programming to explore notions of world-making, social transformation, and human and non-human agency and consciousness.

Shezad Dawood’s work often charts exploratory narratives that draw on historical cosmologies to forge interconnections across far-reaching lines of enquiry, geographic locations and communities.

Ahmad Fuad Osman’s work often explores abuse of power and historical amnesia in order to challenge canonical narratives.

Caecilia Tripp’s work is rooted in collaborative practice and the development of dialogic imagination as a form of celebration of togetherness and shared futures.

As one of the persecuted Hazara people of Afghanistan, Khadim Ali explores the symbols, characters, language and image-making defined and redefined across the history of his culture of origin.

Pamela Rosenkranz often works with materials developed in the high-tech, scientific and pharmaceutical industries, examining how achievements in modern science and medicine transform an understanding of humanity and alter the relationship between nature and culture.

Neo Muyanga’s music and compositions draw on a variety of styles and themes, including Renaissance madrigals, operettas and acoustic pop.

Huguette Caland’s work is notable for its wide-ranging style, material, subject matter and medium, an exploratory that extends to a practice spanning disciplines and geography.

In works of formal and conceptual rigour, Torkwase Dyson explores the language of spatial constructs as demarcations of both confinement and expression.

Interested in the iconography of the domestic sphere as well as fiber-based production processes, Suchitra Mattai creates work in various mediums that investigates the complex relationships between history, memory and the construction of identity in diasporic communities.

As a writer and performance maker, Annie Dorsen’s practice explores the intersection of algorithms and live performance.

In his sculptures, videos and immersive installations, Jon Rafman explores the paradoxes of post-modernity.

In his sculptures, drawings and videos, Kemang Wa Lehulere often excavates the recent past that has receded from view or resides just below the surface of collective memory.

Exploring Indonesia’s colonial history, Jompet Kuswidananto’s SB14 commission, Keroncong Concordia (2019), examines greed and desire for social control through fragmented memory and residual folk tunes.

Gudskul: Contemporary Art Collective and Ecosystem Studies is a public learning space established by three Jakarta-based art collectives: Grafis Huru Hara, ruangrupa and Serrum.

Approaching the body as a bearer of collective memory, Mohau Modisakeng’s work invokes historical mechanisms of violence and grapples with the tensions and contradictions of inequality, exploitation, slavery and race.

In her paintings, figurative cut-outs and installations, Lubaina Himid approaches questions of identity through the celebration of Black creativity and political agency.

Marwan Kassab Bachi, most commonly known as MARWAN, was a pioneering painter and educator, whose life and work bridged continents and cultures.

Over the last 20 years, Laura Lima’s practice has destabilised conventions of contemporary art viewership, and more specifically, the pat expectation of revelatory insight that people have come to expect from conceptual practices.

Often created with photography or video, Mohamed Bourouissa’s projects emerge from time spent in collaboration with the people and communities that inform his work.

Primarily photography, video and sound, Munem Wasif’s works emerge from long-term engagement with places and their histories, particularly within the context of his home country of Bangladesh.

In Phan Thảo Nguyên’s work, the Vietnamese countryside is a dreamscape in which cultural and political histories play out.

Through reimagined narratives based in factual research and primary source material, Lisa Reihana examines the culture and history of Māori and South Pacific Islander peoples.

Mark Salvatus engages with the material of the past to reveal latent outcomes, energies, meanings and experiences embedded in history.

In his new commission, Once Removed (2019), Lawrence Abu Hamdan presents an audiovisual installation that acts as a portrait of the time-travelling life and work of Bassel Abi Chahine

Wu Tsang’s artistic practice explores states of connectedness and in-betweenness. This fluidity often manifests as collaboration or is amplified in the merging of disciplines, such as performance, moving image, sculpture and installation.

Ulrik López’s drawings and sculptures draw on his research in archaeology, myth and ritual.

Meschac Gaba’s practice explores a range of contemporary subjects, including urban architecture, systems of trade, transnational power dynamics and Africa’s place in the world.

Kawayan de Guia’s works offer ironic and sometimes comedic insight into sociopolitical issues in contemporary Philippine society.

As artist, writer, curator, professor and thinker, Qiu Zhijie draws on many different artistic sources and bodies of thought, from contemporary art to Chinese traditions of ink painting and calligraphy.

Ho Tzu Nyen’s ongoing project The Critical Dictionary of Southeast Asia (2012–present) poses the following question: What is Southeast Asia? In the modern sense, the term was introduced during the Second World War in a 1941 book by British-born colonial public servant John Sydenham Furnivall.

Lantian Xie’s work evolves from careful observation of situations, stories and everyday vernacular that are local to the United Arab Emirates as well as similar places of transience.

Semiha Berksoy was a leading figure in the history of Turkey’s cultural scene.

Shiraz Bayjoo’s practice explores the social, political and historical conditions integral to Mauritian cultural identity and the wider Indian Ocean region.

Since 1995, Allora & Calzadilla have produced work in sculpture, video, sound and performance, often in various combinations, to create sensual and immersive works of compound meaning.

Trained as a painter and printmaker, Rohini Devasher also works in sound, video and site-specific drawings.

Stan Douglas’ conceptual approach to photography, film and television draws attention to their respective aesthetic conventions and modes of production as well as their cultures and histories. In his film work, time is a recurrent concern.

Hannah Black and Ebba Fransén Waldhör have previously collaborated, along with musician Bonaventure, on multiple iterations of their performance work Anxietina (2018).

Nikolaus Gansterer’s expansive practice of mapping, performative visualisation and cartographic representations explores the accumulation of interrelated and often ephemeral phenomena and processes that constitute the specific atmosphere of a place.

T. Shanaathanan’s practice grapples with realities of displacement and a familial desire to piece together experiences born out of violent fragmentation, particularly through an examination of Sri Lanka’s civil war (1978–2009).

Léuli Eshrāghi is drawn to the embodied teachings that Indigenous histories call into becoming as realisations of ancestral, Earth-centred ways of being and knowing.

Often drawn from constructed scenarios and performances with ordinary people, Meiro Koizumi’s works consider the dividing lines between public and private and probe public and private awareness of innate and socially conditioned behaviours.

Alaa Edris investigates changing urban environments, folklore and symbols of gender and belief to reformulate and create new perspectives on architecture, myth and social history.

Wael Shawky’s multifaceted practice and diverse artistic repertoire animate historical narratives, dramatising the process of writing history through careful study of stereotypes, myths and traditions.

In his projects, Leo Asemota often presents photography, moving image, performance, sculpture and drawings in sequential progressions that evolve throughout the duration of an exhibition.

Akram Zaatari’s videos, films, photographic installations and publications excavate past landscapes and reorganise the finds in his own present narratives.

Often emerging from observation of everyday experience and interactions, Lee Mingwei’s participatory projects explore notions of memory, self-reflection and interpersonal relations.

Tuấn Andrew Nguyễn’s work explores notions of estrangement that give way to imaginaries, which, in turn, cut through dominant accounts of independence movements, expatriation, and Western and non-Western colonialisms.

Questioning the conventions of what contemporary art is and can do, Xu Zhen’s work spans a wide range of mediums, including painting, sculpture, photography, video, installation and performance.

New Orleans Airlift is an artist-driven initiative that collaborates and creates alongside other artists and communities. For SB14, the collective consists of Delaney Martin, Alita Edgar and Taylor Shepherd

Informed by engagement with urbanism, architecture, print and digital technology, Caline Aoun’s work often takes the shape of a considered experiment.

Working in photography and video, Ampannee Satoh explores an era marked by the abolition of the Thai sultanate system by King Rama V (1853–1910) and his subsequent centralisation of power, which led to increased tensions between the dominant Buddhist society and the minority Malay Muslim community.

Isabel Lewis’ works raise salient awareness of multi-relational spaces and their production of shared knowledge extending beyond rational realms of exchange.

Ann Veronica Janssens creates immersive installations that rely on various technological devices to draw attention to aesthetic qualities such as colour, light, sound and air.

Marwa Arsanios’ recent projects have revolved around questions of ecology, feminism, social organisation, nation-building, war and economic struggle.