Exhibition Making
Curatorial Statement: Liminal Identities in the Global South
Liminal Identities in the Global South (LIGS) explored hybridity and resistance in the artistic practices of seminal women artists from Latin America, alongside artists from the MENA region, the African diaspora and South Africa.
“We Painted the Crystal, We Thought About the Crystal”: The Crystalist Manifesto (Khartoum, 1976) in Context
Thoroughly committed to novelty, invention, and atomic and space-age practices, the Crystalist group proposed completely new directions for art in Sudan in the 1970s.
Curatorial Statement: Kahlo, Sher-Gil, Stern: Modernist Identities in the Global South
Kahlo, Sher-Gil, Stern: Modernist Identities in the Global South (MIGS) presented the works of three pioneering women artists, Frida Kahlo (1907–1954), Amrita Sher-Gil (1913–1941) and Irma Stern (1894–1966).
A Ribbon Around a Bomb: On Some of Frida Kahlo’s Self-Portraits
Writing about Frida Kahlo is difficult. So much has been said. Her work has been examined in the light of her letters, her house, her clothes, her personal belongings, her relationships, her suffering. What else can be said?
A Retake of Sher-Gil’s ‘Self-Portrait as Tahitian’
In ‘Self-Portrait as Tahitian’ (1934) Amrita Sher-Gil, the part-Indian, part-Hungarian painter stands at the cosmopolitan helm of modern Indian art – apparently responding to Gauguin’s stylisation of the female nude.
Female Identities, Distances and Proximities in the South–South Dialogue
In her essay, Andrea Giunta begins with a series of piercing questions linked to the ways of narrating art history from modernity to contemporaneity in the Global South.
Curatorial Statement: Contemporary Female Identities in the Global South
Contemporary Female Identities in the Global South explored distinct ways of representing the body by five women artists from the Global South: Bharti Kher, Nandipha Mntambo, Wangechi Mutu, Shirin Neshat and Berni Searle.
Black Skin, White Masks: Bharti Kher and Nandipha Mntambo
In this essay, Pamila Gupta contemplates black skin as a form of landscape in the artworks of Bharti Kher and Nandipha Mntambo
In Shirin Neshat’s Worlds
Since she began making visual art, Shirin Neshat’s work has spoken about injustice. The Iranian artist is known for art that addresses the political situation in Iran and, in particular, the plight of women.
I Pity the Garden
Iranian poet Forugh Farrokhzad is known as a pioneer of modern Farsi poetry. In ‘I Pity the Garden’ she reflects on the liminal space between the earthly and the divine.
