I’ve ventured into the ether of sound. Here’s the playlist from the recent Curating Radical Futures project, including the full recording from the live colloquium that took place at the Tate Starr Cinema on 8 November 2017. Commissioned by Arts Council England and Outset. Full details here. Image: With thanks to Adriel Luis …
Amy Lee Sanford is a sculptor whose work explores the relationship between trauma and healing. Born in Phnom Penh, Cambodia in 1972 and raised in the United States, the artist holds a degree from Brown University in the Visual Arts. Sanford has been in numerous collective exhibitions internationally. A partial list includes Cascade (solo exhibition, …
Live programme curated by Annie Jael Kwan in association with Something Human and Iniva, followed by Q&A
This report, commissioned by the Tate Research Centre: Asia, is a summary of a panel organised by Eva Bentcheva, independent art historian and curator, at Tate Modern on 21 November 2016. Entitled A Stitch in Time? Situating David Medalla’s ‘Participation-Production Performances’ between British and Philippine Performance Art History, this panel formed part of Contact Points: a seminar in which participants in the 2016 Tate Research Centre: Asia Visiting Fellowship Programme presented their research projects.
I first saw the Le Brothers’s large-scale three-channel video projection installation Into the Sea (2011) at the 2013 Singapore Biennale. The video featured the identical male twins in a series of beautifully filmed scenes set against the languid backdrop of the ocean. On one screen, the long-haired shirtless pair dig into the sand on a beach, and one buries the other in the sand.
From 6-8 October 2016, BAM in partnership with Iniva presented the Now & Then…Here & There: Black Artists and Modernism conference at Chelsea College, University of the Arts, London and Tate Britain, alongside BAM leader Sonia Boyce’s curated exhibition, Now! Now!…in More Than One Place. In this report commissioned by Iniva, I discuss the extremely rich programme, from which, the notion of “collage” and the imagining of “constellations” began to be mapped out in new, exciting ways.
April in Paris—the air is still crisp in the late afternoon. People mill around the Trocadéro with its view of the Ei el Tower. A woman, wearing a floor-length red chador covered with sequins, shimmers with each step as she moves near an assembly protesting Saudi Arabia’s war on Yemen. At first the demonstrators do not notice her, but as she passes them, a few of them suddenly break away to approach her. They talk excitedly at her and take photos. She bows deeply.