Projects

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.

With narratives drawn from social conflict, oral history traditions and nonlinear storytelling, Amar Kanwar’s films offer a poetic vantage point from which to consider the ideologies and solidarities that populate the contemporary world.

French-Colombian visual artist and filmmaker Laura Huertas Millán’s works reflect the complex realities and ecologies produced by colonial relations in Abya Yala.

Joiri Minaya is a Dominican- American multidisciplinary artist whose work investigates the continuity of colonial power hierarchies, often exploring the performativity of tropical identity and its commodification.

Au Sow Yee explores fictional, mysterious narratives embedded within musical and archival sources and responds to the influence of Cold War structures in history- making processes in Southeast Asia.

Kimowan Metchewais (1963–2011), a Cree visual artist of the Cold Lake First Nations reserve in Alberta, Canada, challenged the clichés projected onto Indigenous art.

Shaped by the experience of coming of age during the post-independence Angolan Civil War, Kiluanji Kia Henda reflects on the ruptures of colonial rule and conflict while framing Angolan identity within broader global historical narratives.

Lubaina Himid’s artistic and curatorial practice illuminates the omissions and hypocrisies of western colonial histories, centring the contributions of marginalised figures, particularly Black individuals, to cultural life in Europe.

At the intersection of conceptual, staged and documentary image- making, Hoda Afshar’s lens- based artistic practice explores the representation of gender, marginality and displacement.