Abstracts and bios
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Alpesh Kantilal PatelForever Becoming: Decolonization, Materiality, and Trans* SubjectivityAbstractI will present how one might “do” transcultural research through a blurring of curatorial, artistic, and theoretical knowledge production. More specifically, I will explore a series of exhibitions at UrbanGlass, an organization focused on glass as a material in New York City, that I organized last year under the title “Forever Becoming: Decolonization, Materiality, and Trans* Subjectivity. “Trans” broadly can refer to movement or a crossing. It eschews fixity and is anti-identitarian. Trans is also vibratory: it is “in process” but often refers to a push and pull between or among seemingly fixed, known, and often highly politicized constructions. When attached to concepts such as culture, nationality, gender, ecology, and human, trans can unsettle their meanings. I am invoking trans with an asterisk mark (*) to signify the conceptual overlaps among these often-overdetermined categories and the slipperiness of transgender, in particular. Glass as a material uncannily embodies trans as a concept in three ways: its makeup is heterogeneous, composed of disparate materials, but paradoxically appears as one uniform, bound entity; it hovers between pure form and formlessness; and it can be transparent, translucent, or opaque. These three formal aspects of glass served as prompts for three exhibitions – titled “Multiple and One,” “Transparency and Opacity,” and “Form and Formless.” Each exhibition title also reflects the fascinating intersections among trans, glass, and decolonial thought. For instance, Martinican poet and thinker Édouard Glissant theorized how opacity, the right not to be known, would be necessary for an ethical, interconnected world to emerge. Privileging ambiguity contradicts the West’s demands for obligatory transparency from its citizens. Moreover, Glissant favored the geological formation of the archipelago – a series or chain of islands scattered across a body of water – to think about identity. Each island is autonomous while still part of the larger group of islands: a potent analogy for conceptualizing identity as both “multiple and one” per Glissant. Finally, reckoning with the colonial past involves a careful balance between formlessness – the unraveling necessary for decolonization – and form – the consolidation of the resultant knowledge into generative ends. Keywords: transgender, transparency, opacity, archipelago, and glass BiograpgyAlpesh Kantilal Patel is an associate professor of global contemporary art history at Tyler School of Art and Architecture in the US and Curator-At-Large at UrbanGlass in NYC. The author of Productive Failure: writing queer transnational South Asian art histories (2018, pb), he has edited and coedited several anthologies, exhibition catalogues, and special issues, including Storytellers of Art Histories (2022), and numerous book chapters and journal articles. Grants and fellowships from the Fulbright Foundation, Arts Council England, NEH, Cranbrook Academy of Art, and New York University have supported his research. He is Chair of the Editorial Board of Art Journal, associate editor of ASAP/J, and previously editor of contemporary art book reviews for caa. reviews. He is working on the monograph Multiple and One: Global Queer Art Histories. |
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Birgit HopfenerA pluriversal conceptual framework: Opening and decolonizing the terms of our conversations about contemporary artAbstractDespite the “global turn” mainstream academic discourse of contemporary art history and theory has been largely unconcerned with rethinking Euro-American conceptual frameworks. This “asymmetric ignorance” (Dipesh Chakrabarty) towards non-western histories, epistemologies, ontologies and their transcultural entanglements comes with “hermeneutical costs” (John Clark) and prevents “discursive equality” (Parul Dave Mukherji) not only regarding art’s multiple meanings but how we relate to the world and each other through art. To critique universalist and relativist claims about the nature of art and the world, and to open, pluralize and decolonize the terms of our conversations about art, this paper suggests the formulation of a pluriversal conceptual framework based upon a “transcultural ontology of culture” (Monica Juneja). Informed by Monica Juneja’s conceptualization of the transcultural as an analytical method and epistemic critique, a pluriversal conceptual framework seeks to extend the repositories of art’s histories, to recuperate the multiplicity of art historical concepts, “which have undergone erasure or flattening due to the diffusion of modern disciplinary taxonomies across the globe” (Monica Juneja). Taking art historiographic art by contemporary Chinese artists as a case study I argue that even though “historiographic art,” has been discursively treated as a global phenomenon, its conceptual framings have neither sufficiently attended to the plural and transculturally interconnected nature of the global world nor to the cultural multiplicity of historiographic concepts, of how to relate to and represent the past respectively. It is in this regard that I examine how art historiographic artworks can be read as critical transcultural engagements with a longer history of historiographic art in China. It is by acknowledging and examining such dynamic transcultural reality of art, that mainstream art history practice of making meaning comes under pressure, and institutionalized structures of art history are potentially unsettled. Keywords: Transcultural, pluriversal conceptual framework, asymmetric ignorance, discursive equality, historiographic art BiographyBirgit Hopfener is an Associate Professor of art history at Carleton University. She situates herself in the fields of critical global art history, culture theory, and Chinese art history. Her present research centres upon questions around the heterogeneity of temporal assumptions (historiographical models, their respective concepts of time and temporality and temporal regimes) that constitute and frame our world, its art, subjects, and knowledge. To shed light on the transcultural historicity of contemporary art her current book project Doing Critical Global Art History. Transcultural analyses and a pluriversal conceptual framework for contemporary art historiographic art focuses on art historiographic works by contemporary Chinese artists. She authored the book Transkulturelle Reflexionsräume einer Genealogie des Performativen: Bedingungen und Artikulationen kultureller Differenz in der chinesische Installationkunst (2013) and co-edited the volumes Negotiating Difference: Chinese Contemporary Art in the Global Context (2012) and Situating Global Art. Topologies – Temporalities - Trajectories (2018). She serves on the editorial boards of Art Journal, 21: Inquiries, and the Journal of Contemporary Chinese Art, and is a founding member of the international consortium Transnational and Transcultural Arts and Cultural Exchange (trACE) and the international research group Worlding Public Cultures. |
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Eugenia Bogdanova-KummerZen of Book: Visual Dialogues on Zen Buddhism between Hisamatsu Shin’ichi, Martin Heidegger, Morita Shiryū and L. AlcopleyAbstractThis talk is dedicated to the study of a single art object: a book of dialogues on philosophy between Martin Heidegger and Hisamastu Shin’ichi, illustrated by Alcopley and published by Morita Shiryu in 1963. This outstanding art book, crafted in intellectual collaboration between Hisamatsu and Heidegger, and visual and institutional collaboration between Morita and Alcopley, attests to the versatility and transnationalism of postwar art creation, which transcended national, linguistic, and artistic borders, using Zen as a catalyst of visual and material creativity. The fascinating transcultural networks connecting the four artists and intellectuals behind this book demonstrate the global nature of postwar Zen art and abstraction and draw parallels between the duality of abstract art and figuration, as well as Western and Japanese philosophy, and the fluidity between them. Based on a real conversation in Freiburg, visually interpreted by Alcopley, and physically materialized by Morita, this object offers multiple ways of reading, looking and interpretating, challenging the authors to the equal extent as it challenges the readers. BiographyEugenia Bogdanova-Kummer is an art historian specialising in modern Japanese art. She is a Lecturer in Japanese Arts at the Sainsbury Institute for the Study of Japanese Arts and Cultures, UK. Before joining the Sainsbury Institute in 2018, she received her PhD from Heidelberg University and held postdoctoral positions at Emory University, Atlanta, GA and Smithsonian National Museum of Asian Art, Washington, D.C. Her research interests include postwar art in Japan; modern calligraphy history in East Asia; transcultural studies; abstract art; and the relationship between image and language in modern Japan. She is the author of Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde (Japanese Visual Culture Series 19, Leiden and Boston: Brill, 2020), and is currently working on her second book manuscript on the role of calligraphy in Japan’s colonial project in East Asia. |
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Kajiya KenjiAmerican Racial Issues in Modern Japanese Art: Usami Keiji’s Paintings and Watts Riots in Los AngelesAbstractThis paper will examine the ways in which Japanese painter Usami Keiji (1940-2012) addressed American racial issues in Japan since the mid-1960s. Partially inspired by Jasper Johns and Pop Art, Usami painted figurative images, specifically four types of figures, a croucher, a flincher, a runner, and a thrower, for more than 40 years until his death in 2012. These four figures are based on the silhouettes of African American protesters at the Watts Riots in Los Angeles in 1965. While Usami was best known as a painter well-versed in theory, using the idea of systems in his paintings, it should be noted that he was one of the few Japanese artists who explicitly used political images in the 1960s. This paper will first discuss how Usami engaged with political issues during his stay in the United States in 1966, unlike his contemporaries who mostly avoided political subjects in Japan. It will then explore how Usami successfully reconciled his political concerns with his interest in structuralism and post-structuralism in what he calls Ghost Plan paintings. This paper will thus reveal how Usami profoundly incorporated his transcultural experience into his artworks in Japan in the 1960s. Keywords: Modern Japanese Art, Usami Keiji, Watts Riots, racism BiographyKajiya Kenji is an art historian who focuses on post-World War II art and art criticism in the United States and Japan. He is a professor in the Department of Interdisciplinary Cultural Studies at the University of Tokyo. He also serves as the director of the Oral Art History Archives of Japanese Art since 2006. He obtained a PhD in art history at the Institute of Fine Arts at New York University. He is the author of Emancipated Painting: Color Field Painting and 20th Century American Culture (Tokyo: University of Tokyo Press, 2023), the editor of Usami Keiji: A Painter Resurrected (Tokyo: University of Tokyo Press, 2021) and the co-editor of From Postwar to Postmodern, Art in Japan 1945−1989: Primary Documents (New York: Museum of Modern Art, 2012) and Shaping the History of Art in Southeast Asia (Tokyo: Japan Foundation Asia Center, 2017) among others. |
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Kimihiko NakamuraJapanese Ex-War Painters in the Postwar American Art WorldAbstractThe painters Okada Kenzō (1902–1982) and Kawabata Minoru (1911–2001) spent their lives under two entirely different modes of world power: the Empire of Japan prior to and during World War II, and afterwards, the US hegemony that expanded its economic, political, and military power into Asia during the Cold War. In the existing literature and museum surveys, the focus has predominantly been on their postwar abstract paintings which garnered appreciation in New York. However, their careers did not simply begin in 1945. Okada and Kawabata were already esteemed painters producing state propaganda before the Japanese Empire’s defeat. Since Okada and Kawabata were the two foremost male painters in the transpacific region across the transwar period, they will provide a unique lens for delineating how at this time social and political milieus in artmaking were transposed from the setting of Imperial Japan into the new cultural context of America as an ascendant superpower. By situating Okada and Kawabata’s practice in its transwar historical and socio-political context, this paper considers how the Japanese Empire and the postwar American hegemony were entangled within the visual field. Under the Empire of Japan, their lives were constantly defined by imperial coercion, and they eventually served as agents of Japanese imperialism and colonialism. Meanwhile, in the postwar period, ex-war painters like Okada and Kawabata were actively ‘adopted’ into the New York art world, where they contributed to the rise of American art. The two Japanese émigré painters’ postwar activities reflected the Cold War-era ideology of US-Asian integration that promoted a reciprocal alliance as well as the expansion of US power into Asia. This study will demonstrate that the art and careers of Okada and Kawabata, who traversed across the Pacific Ocean, mirrored the intertwined histories of the Asian-Pacific-American region throughout the twentieth century. Keywords: Japanese war art; Japanese Empire; Abstract Expressionism; Asian American art; Cold War culture BiographyKimihiko Nakamura is a doctoral candidate in East Asian Art History at the Ruprecht-Karls-Universität Heidelberg, Germany. His doctoral dissertation explores the transwar art and careers of four Japanese painters who produced war propaganda paintings in wartime Japan and then established themselves as abstract painters in postwar New York: Inokuma Gen’ichirō (1902–1993), Kawabata Minoru (1911–2001), Okada Kenzō (1902–1982), and Takai Teiji (1911–1986). His recent publications include: ‘Shinoda Tōkō: Ink, Abstraction, and Radical Individualism’, in Woman’s Art Journal, vol. 43, no. 1 (Spring/Summer 2022); and ‘Painting World Powers across the Transwar Period: Okada Kenzō and Kawabata Minoru under the Japanese Empire and Pax Americana’ in Review of Japanese Culture and Society (accepted; forthcoming). Before coming to Heidelberg, Kimihiko completed his Bachelor’s in Philosophy (Aesthetics) at Keio University in 2019 and Master’s in Art History (with Distinction) at the University of St Andrews in 2020. |
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Marcia Harvey IsakssonThe Threshold is a PrismAbstractThe first edition of the brand-new triennial, Southnord Artfest 2023, ended recently in Stockholm. Southnord is a platform that makes space for black and Afro-Nordic artists. Everything we do is for us, by us. We choose to centre ourselves and our community, making us the authors of our own stories while embracing the multitude of those stories. Peoples of African descent living and working in the Nordics are not a monolith that can be easily grouped and described in simplified terms. We are a diverse and complicated community with multiple perspectives and views on what it is to be a human being in-between two cultures, a human being in the diaspora and a human being in minority. Art is the tool we have chosen to help us to examine this and try to make sense of the world and our place in it. In this paper, I will present my curatorial practice specifically tied to Southnord and the thoughts mentioned above. I will also detail the approach I used when initiating the platform and the thought-process behind putting together the exhibition The Threshold is a Prism that was shown at Kulturhuset in Stockholm between 26 October 2023 and 14 January 2024. I will also touch on other activities and exhibitions organised under the umbrella of the entire artfest that ran from 7 September 2023 to 14 January 2024, in multiple locations around Stockholm and in collaboration with various organisations. Finally, I will dwell on some reflections and observations that I made along the way regarding self-initiated projects; re-centring the periphery; collaborating and community; and being a guest in someone else’s house. Keywords: Afro-Nordic, Multiplicity, In-betweenness, Diversity, Re-centring BiographyMarcia Harvey Isaksson (b. 1975 in Harare, Zimbabwe) is an artist, curator and exhibition designer based in Stockholm, Sweden. Within her artistic practice, she employs textile methods to investigate place, belonging and heritage, alternating between autobiographical and common shared histories. She is particularly interested in knowledge transfer and storytelling and uses a multidisciplinary approach that includes textiles, performance, video, poetry and image making. Marcia previously ran Fiberspace, an arena for textile arts, crafts and design that she founded in 2015; and for which she was awarded the Dynamo Award by the Swedish Arts Grants Committee and the Cathrine von Hauswolff’s Design Award in 2022. Fiberspace was closed in 2023, giving way to the newly established platform Southnord, which focuses on making space for black and Afro-Nordic artists. She also works as a freelance curator and combines it with design assignments from various museums in Sweden where she has developed concepts for exhibitions covering everything from cultural historical collections to contemporary societal issues. Marcia works often as a jury member in design and architectural prizes, as a moderator in artist and designer talks, and is currently a member of the selection group for the Visual Artists’ Fund within the Swedish Arts Grants Committee. |
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Michelle EistrupConnecting Archives and Histories from Australia to GermanyAbstractThis presentation discusses the importance of re-examining historical narratives through the lens of transcultural interactions and the impact of colonialism on global history. It seeks to highlight the need to challenge dominant perspectives that have shaped historical accounts and to uncover buried knowledge that brings silenced voices to the forefront. My work as an artist and my curatorial practice emphasizes the role of art can play in bringing attention to and questioning traditional narratives and social issues, particularly regarding colonial history and its lasting consequences on identity and belonging. My work seeks to disrupt normative historical accounts and provoke critical reflection on the complexities of postcolonial memory. By integrating various artistic expressions, mediums, and formats, it attempts to bridge cultural contexts and challenges the unilateral representation of history, ultimately shedding light on the enduring legacy of colonialism and the importance of giving voice to marginalized narratives. This presentation will focus on the works “In Deep in the Underground and Up Above”, “Breathing Archives” “Mineral Emissaries” and the second edition of BAT (Bridging Art and Text), BAT ink at Documenta 15, Kassel. My presentation will specifically highlight Mr. Major Moogie Sumner, senior elder of the Ngarrindjeri people of the Coorong in South Australia, and Dr. Birgit Scheps-Bretschneider ethnologist from the Grassi Museum in Leipzig, Germany and their work surrounding repatriation and restitution of human remains. Together, they engage in the sensitive work of returning human remains, a process emblematic of addressing the wounds inflicted by colonial histories. Through this act, they highlight the ongoing importance of transcultural exchange and the recognition of previously disregarded histories. BiographyMichelle Eistrup, the Aaron Douglas Fellow at the John Lewis Center, is a visual artist who presently teaches at Fisk University in Nashville, Tennessee. Ms. Eistrup’s art incorporates themes of identity, corporeality, faith, memory, and post-colonialism, with her transnational background (Danish, Jamaican, American) frequently serving as a point of departure. She traverses varied artistic expressions that include photography, drawing, video, sound, and performance, all integrated into a practice led by the spirit of and a strong belief in the collective transformative potential. Ms. Eistrup has exhibited at institutions such as Aarhus Art Museum; AGWA, Art Gallery of Western Australia (Perth); The Middle Passage (Liverpool Biennial) ; Documenta15 (Kassel); Kunsthal Charlottenborg (Copenhagen); Galleri Image (Aarhus); Momentum: The Nordic Biennial of Contemporary Art (Moss); The Japanese Palace (Dresden); Haugar Vestfold Kunstmuseum (Tønsberg); Moderna Museet; Kulturhuset (Stockholm); Pingyao Photography Festival (Shanxi); The Taitu International Art Center (Addis Ababa), and The National Gallery of Jamaica. |
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Minna ValjakkaTowards Transculturality in Contemporary Artistic Encounters: Japanese Artists in EuropeAbstractThe growing presence of contemporary artists who identify with Asian cultural heritage has gained recognition and support from art institutions across Europe. However, the artists’ diverse motivations for relocating to Europe, their personal experiences of working here, and the transformations this may have initiated in their aesthetic practices remain understudied. As Kennedy-Schtyk (2022) elucidates, there is a need for a more nuanced understanding of the multiple complexities of these artistic encounters and their transcultural and transnational relations. Although a number of studies on 'migratory art', 'migratory aesthetics' and 'diaspora art' have offered illuminating observations on contemporary artistic practices , their prevailing connotations of ethnic marginalisation and implicit hierarchies in the arts limit their interpretive potential. The position of Japanese artists, in particular, lies beyond the binary framework of European colonial relations. Informed by Juneja’s (2023) theory of transculturation, this paper examines the process-oriented dynamics and multi-scale relationality of contemporary Japanese artists’ artworks, aesthetics and personal experiences. With focus on two series of artworks by female artists working in the Netherlands, Miyuki Okuyama’s (b. 1973) Dear Japanese: Children of War and Nishiko’s (b. 1981), Repairing Earthquake, I aim to contribute to the discussion on the changing perceptions and genealogies of transculturation of Japanese art in Europe, the intricate notions of simultaneous belongingness, and representations of artistic identity. I propose that even if the oeuvres of these two artists include Japanese elements in their approach, artistic language, methods and exhibition displays, they are dismantling the myths of ‘Japaneseness’. At the same time, they highlight what Juneja calls as ‘the mutability of binary oppositions’ and also deconstruct Japan as ‘an imagined realm for artistic practices’. Keywords: contemporary art, Japaneseness, Japanese artists, artistic identity, simultaneous belongingness BiographyMinna Valjakka is an Associate Professor in Art History at the University of Helsinki. Minna is an art historian focusing on varied forms of East and Southeast Asian contemporary arts, their transnational networks and trans-local mediations. She is a passionate researcher and has pursued to development of multi-sited and comparative research through locally-grounded, long-term research combining ethnographic fieldwork, archival research and participatory engagement. At the intersection of art studies, urban studies and environmental humanities, she examines artistic practices as a response to the distinctive trajectories of geopolitical circumstances, societal transformations and growing environmental urgencies. Minna has published extensively, including journal articles and special issues in Critical Asian Studies, Cultural Studies, City, Culture and Society, and China Information. She has also written book chapters, exhibition essays, and co-edited volumes, such as Visual Arts, Representations, and Interventions in Contemporary China. Urbanized Interface (AUP, 2018). Besides her academic work, she also collaborates with art spaces and museums in terms of research, exhibitions, and events. |
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Sabine Dahl NielsenAbstractAs a result of former and ongoing migratory movements, European societies have become sites of social contact, and their populations have to a still increasing degree become culturally pluralized. Due to this development, art institutional practices are currently being reconceptualized and renegotiated. Accordingly, the idea of the 'transcultural' is currently gaining momentum in curatorial and institutional contexts, providing a framework for critically rethinking the nationalist and monocultural notions of belonging upon which European nation-states are founded. For instance, anthropologist Cathrine Bublatzky reflects on how engaging transculturality as an analytical perspective “foregrounds a conceptual landscape for considering cultures as relational webs and flows of significance in active interaction with one another”. Importantly, she also emphasizes that these global interactions are friction-filled and power-related. She thus stresses that “Exhibitions are shaped through the mediation of intricate webs of exchange, conflict, diffusion and mutuality, which may sometimes extend across oceans and continents.” The recently reopened art institution Haus der Kulturen der Welt (HKW) in Berlin provides an interesting case when seeking to explore a transcultural perspective such as the one proposed by Bublatzky. In my presentation, I will examine how the institution seeks to deal with the ongoing transculturation processes characterizing today’s socially diverse and globally interconnected communities. More specifically, I will focus on three questions: How does HKW aim to historicize and politicize the uneven power structures involved in transcultural entanglements? Utilizing which curatorial modes of address are national notions of belonging challenged, and collective identities recast from the viewpoint of transcultural exchange? How can an institution such as HKW create transcultural contact zones and contribute to the formation of intersectional alliances of solidarity, i.e. solidarities that can cut across sedimented lines of fracture and bring egalitarianism, anti-racism, and feminism together in a joint struggle? Keywords: contact zones; institutional practices; publics; belonging; intersectional alliances of solidarity. BiographySabine Dahl Nielsen is an assistant professor at the University of Copenhagen and principal investigator of the research project Transcultural Contact Zones: The cultural pluralization of art institutions in today’s migration-induced societies (2023-2027). She has recently worked on the collective research project Togetherness in Difference: Reimagining identities, communities, and histories through art (2019-2022). This project engaged with the effects produced by migration within the fields of art and curating and related to Dahl Nielsen’s previous exhibition-based research project entitled Transit: Mobility and Migration in the Age of Globalisation. Dahl Nielsen holds a PhD from the University of Copenhagen with the dissertation Art in Public Spaces: Conflicts and Negotiations as Critical Political Practices. Her work on art in public spaces, radical democratic forms of participation and the intersection of exhibition practices and contemporary social urgencies including the struggles around migration, gentrification and anti-racism have been published in exhibition catalogues, anthologies, and journals. |
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Tijana MiškovićRepairing Broken and Creating New Transcultural Connections: How Contemporary Artists with Migrant Backgrounds Forge Transcultural Connections in Diverse Cultural EnvironmentsAbstractContemporary global society is witnessing the emergence of a transcultural landscape, characterised by a rising population of both forcibly displaced individuals (UNHCR, 2023) and labour migrants (ILO, 2021). This societal shift has given rise to intricate and diverse communities where cultural affiliations transcend national boundaries and various cultural environments, thereby reshaping traditional power dynamics between majority and minority cultures (Robins, 2007). Such a transformation has spurred the emergence of novel forms of transcultural connections, reconceptualizing culture as dynamic processes of interaction, circulation, and reconfiguration (Abu-Er-Rub et al., 2021). To illustrate contemporary artists’ responses to this socio-political environment, my paper focuses on two artworks from the exhibition Connection – Danish Artists from Ex-Yugoslavia, which I curated at SMK- National Gallery of Denmark: The House in the Forest by the Sea (2021) by Ismar Čirkinagić, who arrived in Denmark in 1992 fleeing the war, and Proposal (2017) by Ana Pavlović, who came to Denmark in 2000 in search of improved life and work opportunities, serve as primary examples. Through their respective artworks, both artists convey transcultural connections based on solidarity with individuals who have also endured war atrocities or migration difficulties, while simultaneously addressing and repairing their own challenging and sometimes even traumatic experiences. Čirkinagić creates his artwork by collecting and stitching together garments of victims from various conflict-ridden parts of the world, emphasising the human tragedy that transcends national, religious, and cultural boundaries. Pavlović creates a collage by blending cutouts from her own family photos with those of other female migrants who, like herself, arrived in Denmark alone, often facing gender-based stigmatisation and suspicion regarding their aspiration to integrate into Danish society. Both artworks illustrate how, as they grapple with repairing their own disrupted connections to their culture, the artists with migratory experience forge new connections with other communities and cultures. BiographyTijana Mišković holds an MA from The Royal Danish Academy of Fine Arts and a PhD from The University of Copenhagen. Most recently, she has worked as a curator and researcher at SMK – National Gallery of Denmark. Previously, she acted as an independent curator organizing exhibitions and seminars in Danish institutions such as Den Frie Centre of Contemporary Art, MOMU – Moesgaard Museum, Nikolaj Kunsthal, The National Museum of Denmark, and Viborg Kunsthal as well as internationally in collaboration with exhibition venues such as El Centro de Desarrollo, Havana; HDLU – The Meštrović Pavilion, Zagreb; IKM Museum, Oslo; MOAD – Museum of African Design, Johannesburg; Xpon-Art, Hamburg; and participated in biennials such as 54th Venice Biennale, Manifesta 8, and Liverpool Biennial. |