Projects

Maria Magdalena Campos-
Pons’ practice interweaves autobiographical elements of her Afro-Cuban heritage with historical narratives of the African diaspora.

Vivan Sundaram works with contextual responsibility and radical contradiction, exploring shifts of medium, different ‘languages’, historical acuity and memory archives.

At the centre of Diedrick Brackens’ intricate tapestries lie the loaded associations of cotton with the legacy of the transatlantic slave trade. Brackens’ series of allegorical tapestries are inspired by ancient West African Adinkra symbology.

Anju Dodiya’s visual language encompasses references spanning the cross-cultural history of painting, from Indian miniatures to French medieval tapestries, alongside elements of autobiography, allegory and mythology.

Hajra Waheed’s multidisciplinary practice explores issues including the relationship between surveillance and the networks of power that structure human lives, while also addressing the alienation of displaced subjects affected by legacies of colonial and state violence.

Reflecting on the concept of civic belonging, Bouchra Khalili examines the struggle of communities excluded from citizen memberships immigrants for equal rights and the
ways in which it continues to resonate in present times.

Through his experimentation with the moving image, John Akomfrah delves into themes of memory, identity, postcolonialism, temporality and the politics of aesthetics.

Ali Cherri’s sculptures, drawings and installations unravel complex narratives of environment, archaeology and heritage in West Asia and the broader region.

Cao Fei’s practice examines how technological advancements intersect with popular culture and urban transformation in contemporary China.

Jasbir Puar and Dima Srouji build upon their respective work in architecture, visual art and decolonial theory to produce a collaborative examination of colonial pathologies.

As a documentary photographer and visual storyteller, Rehab Eldalil challenges traditional frameworks of artist-subject relationships by involving those she photographs in the creative process. T

Marianne Fahmy’s films explore the relationship between natural phenomena and human habitation and its role in structuring reality and the invention of the future.

Pushpakanthan Pakkiyarajah’s paintings and video installations reflect on the painful and frequently suppressed legacies of Sri Lanka’s lengthy civil war.

Felix Shumba’s multidisciplinary practice interprets sociopolitical issues such as dislocation and migration through the use of existing imagery culled from archival and media sources.

Mame-Diarra Niang’s photographic work abstracts, fragments and decontextualises landscapes and portraits relating to her ancestral roots and Senegalese- Ivorian-French upbringing. Niang’s interrelated photographic series dwell on memory, selfhood and race.