Nahla Ink Online Journal

The Syrian Arts & Culture Festival (SACF) is a multidisciplinary arts festival showcasing Syria’s vibrant arts and culture in London. Our curated multi-disciplinary programme of events offers a creative collision of film, music, performance, visual arts and talks. The festival brings together established alongside emerging artists, filmmakers, performers, and musicians to offer London audiences alternative narratives and perspectives on Syria, its people, and culture.

The festival’s name, SACF, is an acronym for Syrian Arts and Culture Festival. It also is a transliteration of the Arabic word ‘سقف’, meaning ‘roof’ or ‘ceiling’, a word which is also colloquially used to represent the very ‘limit’ of something. By drawing on these imaginaries, SACF sets out to embody multiple meanings. On one hand, the festival aims to bring people together under a shared roof, where new connections and understandings can take shape. On the other hand, it acts as a provocation against the limits imposed on forms of creative expression that many Syrians have cunningly navigated. SACF aspires to be a creative platform where limits can be pushed and boundaries are broken.

This event is part of the Hello Again Hackney ~ A special series of performances to welcome Hackney residents back to SJQ. This event is a collaboration between SJQ and The Majazz Project.

Hailing from Central Sudan and now based in London after fleeing the fundamentalist takeover in that region, the Scorpios are a septet that melds Arabic rhythms and guitar chops with a raw Eastern funk feel, properly dismantling cultural barriers in pursuit of a unifying rhythmic bliss. Heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound that owes as much to Detroit as it does to Khartoum.

The Scorpios will be joined by The Momo Collective playing jazz, old school breakbeats, psych and latin.

This is 18 and over event.

For tickets: https://www.wegottickets.com/event/535706

Diving deep into Syria’s musical heritage, Ibrahim Keivo presents a spellbinding musical performance, bringing to life the rich singing traditions of the ancient civilizations that have survived in the regions that make up Northern Syria.

A compelling musical figurehead, Ibrahim Keivo’s unparalleled work preserves and revives the ancient oral traditions, religions and languages of one of the most diverse societies in the region. From Bedouins, to Yazidis, Kurds, Armenians and Assyrians, Keivo artfully resurrects the songs from each folklore’s traditions and presents his own pieces inspired by these cultures.

Born to an Armenian family in a Yazidi-Kurdish village, Keivo is a multilingual, multi-instrumentalist and musicologist, whose efforts in preserving oral music cultures have received international acclaim. For this January date, Keivo will be playing the oud, buzoq and saz, carrying listeners across time, languages and cultures.

This event is proudly presented as part of SACF’s 2022 programme, London’s Syrian Arts and Culture Festival, and is a joint collaboration between Zamakan, Marsm and Kings Place.

For tickets: https://www.kingsplace.co.uk/whats-on/classical/ibrahim-keivo/

Exhibition Dates: 12 October, 2021—30 January, 2022

‘Stateless Heritage’ sets out to challenge mainstream narratives of refugee experience, of humanitarian crises, victim-hood and suffering. In this exhibition, artist and architectural collective DAAR proposes exile as a radical perspective which can take us beyond the limitations of the nation state. Stateless Heritage also interrogates Western definitions of heritage.

The works in the exhibition focus on Dheisheh refugee camp in Palestine. The camp traces its history back to 1949, at the time of the start of the Nakba, when Palestinians were displaced by the founding of the state of Israel. A large light box installation will show photographs of the camp by Luca Capuano. Capuano had previously photographed Italy’s world heritage sites for UNESCO. In 2016 DAAR commissioned him to take the same care to document Dheisheh, as a living monument of ‘permanent temporariness’. A series of photo-books show the 44 villages the refugees of Dheishah originally came from.  

DAAR will present their proposal to recognise the camp as a UNESCO world heritage site, in a call for official international recognition of the cultural heritage of the refugee. A space alongside will host events by activists, artists and thinkers. 

These works are part of a wider movement to use heritage to resist colonialism and occupation which continues in Palestine, and to expose colonial and imperial legacies more widely. Stateless Heritage will raise issues of migrant justice at a time when the right to claim asylum is under threat in the UK and internationally.

DAAR (Decolonizing Architecture Art Research) is an architectural collective that combines conceptual speculations and pragmatic spatial interventions, discourse and collective learning. The artistic research of Sandi Hilal and Alessandro Petti are situated between politics, architecture, art and pedagogy. In their practice art exhibitions are both sites of display and sites of action that spill over into other contexts: built architectural structures, the shaping of critical learning environments, interventions that challenge dominant collective narratives, the production of new political imaginations, the formation of civic spaces and the re-definition of concepts.

For more: https://mosaicrooms.org/event/daar-stateless-heritage/

The Syrian Arts & Culture Festival (SACF) is a multidisciplinary arts festival showcasing Syria’s vibrant arts and culture in London. Our curated multi-disciplinary programme of events offers a creative collision of film, music, performance, visual arts and talks. The festival brings together established alongside emerging artists, filmmakers, performers, and musicians to offer London audiences alternative narratives and perspectives on Syria, its people, and culture.

The festival’s name, SACF, is an acronym for Syrian Arts and Culture Festival. It also is a transliteration of the Arabic word ‘سقف’, meaning ‘roof’ or ‘ceiling’, a word which is also colloquially used to represent the very ‘limit’ of something. By drawing on these imaginaries, SACF sets out to embody multiple meanings. On one hand, the festival aims to bring people together under a shared roof, where new connections and understandings can take shape. On the other hand, it acts as a provocation against the limits imposed on forms of creative expression that many Syrians have cunningly navigated. SACF aspires to be a creative platform where limits can be pushed and boundaries are broken.

P21 Gallery is excited to announce a second OPEN CALL for the Spring 2022 Online reACT programme! The invite is for UK based and international emerging artists aged 30 and under whose work focuses on digital media OR on artwork that can be represented well online, that is dedicated to or inspired by the Middle East and Arab world.

The online residency will last for one month and includes curatorial and marketing support and a small artist stipend! Your artwork will be displayed on the P21 Gallery website, along with the opportunity for you to host supplemental events around your online exhibition including: Instagram takeovers & live streams, virtual artist talks, themed webinars, filmed performances or any other online activities that will help give your audience context of your artwork.

ABOUT reACT 

The reACT programme has been established to promote and support emerging and student artists whose work is related to the Arab world by providing space for an artistic intervention within the P21 Gallery. Selected artists will have an invaluable opportunity to produce and exhibit their artwork at the P21 Gallery for a period of 2 weeks and will be provided with exhibition space at no cost, an artist stipend, curation and support for exhibition-related events and opportunities for mentorship.

ELIGIBILITY

Available to UK-based and international emerging artists between 18-30 years old, whose artwork is dedicated to or inspired by the Middle East & Arab world.

DEADLINE

The deadline for consideration: 1 February 2022

HOW TO APPLY

Go to the P21 Gallery website link here: https://p21.gallery/react/open-call-online-react-residency

FAQ’s

• What does the reACT programme online residency entail?

The online residency will last for one month, exhibiting your artwork on the P21 Gallery website*. Additionally, you will have the opportunity to host supplemental events around your exhibition including: Instagram takeovers & live streams, virtual artist talks, themed webinars, filmed performances or any other activities that will help give your audience context of your artwork during your residency.

Successful applicants will receive:

– A financial artist stipend

– Curatorial support

– Marketing support

• What information do I need to include in my submission?

You will be requested to provide: 1) a brief artist statement about your work, 2) an artist biography, 3) a brief synopsis of your work and how it pertains to the Arab world, and 4) any images (.jpeg or .png format) and/or links to your artwork.

• I am Muslim but not Arab nor is my work inspired by or dedicated to the Middle East / Arab world. Can I still submit to the open call?

The reACT programme accepts submissions & artwork from UK based & International artists despite ethnic background or religion, as long as the artwork itself is representative of and/or dedicated to the Middle East / Arab world.

• Can I submit an idea I have for an online exhibition or finished work only?

Please ensure you submit artwork that is complete & can be readily exhibited clearly in a digital format.

• Can I submit work as part of a group or collective?

Yes. We will accept artworks that are collectively produced by a group of artists or collective, however only 1 artist stipend will be distributed and split amongst artists.

• Can I submit more than one artwork to the call?

Yes. You may submit more than one artwork or application throughout the year, however you will only be eligible to participate in one exhibition in 2021.

• I am over 30 years old (or will be over 30 this year), am I eligible to submit to the open call?

Unfortunately, we are not accepting submissions from artists 30+ at the current time.

• Can I submit an artwork that has been presented / exhibited before?

The reACT programme aims to support emerging and student artists to promote and exhibit original, preferably never exhibited before artwork. If your artwork has been previously exhibited, we request in your submission you detail a new element of the work(s) you will create specifically for the residency.

• Is my submission for an online exhibition only?

Yes. At this time, we are only accepting submissions for ONLINE residencies in 2021.

• I need help with my submission or have further  questions about the reACT programme. Who can I speak to?

Contact reACT programme manager & curator, Mishelle Brito, at react@p21.org.uk for any inquiries.

Marsm and Jazz Cafe present the return of the Palestinian powerhouse 47SOUL.

The spearheading musical musketeers have created global headlines with their no-compromise dance music, pioneering a genre that they called Shamstep, in which hip-hop and electronica are fused with Middle Eastern melodies and excellence.

Their trademark sound, rooted in shaabi music, pop culture and tantalising dabke beats, has become incredibly popular both internationally and in the Arabic-speaking world. From their irresistible stage presence, to their bilingual lyrics and showstopping visuals, 47SOUL have become one of the leading voices within Palestine’s unparalleled cultural resistance.

As they come to London for the exclusive debut of their latest album ‘Semitics’, expect the high energy, hypnotic hooks and pulsing synths that define their pioneering sound.

For tickets:

This event is part of the Hello Again Hackney ~ A special series of performances to welcome Hackney residents back to SJQ. This event is a collaboration between SJQ and The Majazz Project.

Hailing from Central Sudan and now based in London after fleeing the fundamentalist takeover in that region, the Scorpios are a septet that melds Arabic rhythms and guitar chops with a raw Eastern funk feel, properly dismantling cultural barriers in pursuit of a unifying rhythmic bliss. Heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound that owes as much to Detroit as it does to Khartoum.

The Scorpios will be joined by The Momo Collective playing jazz, old school breakbeats, psych and latin.

This is 18 and over event.

For tickets: https://www.wegottickets.com/event/535706

The Mosaic Rooms presents ‘Gut Feelings’, a solo exhibition of paintings and mixed media works by Hayv Kahraman. In this new work, the artist delves into scientific research to situate the effects of trauma in the body and to investigate methodologies of physical healing and care. Developing from Kahraman’s ongoing exploration of embodied experiences of ‘Otherness’, the gut acts as a formal and material trope to investigate ideas of trauma and renewal.

In this new series of paintings and drawings twisted and knotted intestine-like cords seem to engulf the female figures. Organ-like labyrinths allude to a complex web of interconnectivity, reminiscent of neurological transmitters, simultaneously entrapping and emancipating the female figures entangled within them. These repeatedly explored imageries are painted on linen canvasses, paper and on handmade flax fabric, a new material for the artist. Kahraman began deconstructing the linen that she paints on, exploring how the flax fibres, before being woven and spun into linen, are harvested by bacteria in the soil. These works give an intimate insight into how Kahraman’s wide-ranging research informs her practice and her experimentation with processes and form.

“I was cleaning out my mother’s belongings and found a book titled ‘Neurosculpting’, did you know that you have the ability to physiologically re-create new neuropathways in your brain, to re-sculpt, to unlearn and relearn? Now imagine what that means for a refugee.

“I think about my own experiences as an Iraqi who fled the war to Sweden, and can’t help but notice an insidious regurgitation of pain that circulates in the migrant communities I belong to. The system (humanitarian agencies and social welfare governmental agencies) requires the display of trauma, the more you are known to have suffered, the more chance you have of the ‘reward’ of safety. Reliving this trauma can be gut-wrenching and has unrelenting somatic consequences. The confluence of pain and reward becomes a pernicious currency and “we” (refugees) inherit this to a point where it becomes our omnipresent identity.

“I was captivated by the relatively new discovery that ‘colonist’ microbes, these foreign organisms that we’ve culturally learned to think of as dirty things to expel, are the very reason we feel – as humans. The gut produces serotonin ‘the happy hormone’ for example. The fact that alterity albeit in the microbial world is celebrated, makes someone like me, who existed at the periphery, very hopeful.

“And I return to the microbial rich soil that my mother is buried in and think about neuroplasticity which is based on the idea of malleability, fluidity and change. Like the temporal metamorphoses that happens in the soil, can we learn from bacteria and transform to get Unstuck?” – Hayv Kahraman

About Hayv Kahraman

Hayv Kahraman is an Iraqi artist based in Los Angeles whose figurative paintings examine the gendered and racialized body politics of migrant consciousness. Her work is a reflection on Otherness as a form of dehumanisation, focusing on the gap between the immigrant, non-white, genderly marked other and the way they are perceived by the white hetero-patriarchal normative same. Her work has been exhibited at ICA Boston, Boston (2020); Henry Art Gallery, Seattle (2020); De La Warr Pavilion, United Kingdom (2019); Nottingham Contemporary, United Kingdom (2019); Benton Museum of Art at Pomona College, Claremont (2018); Contemporary Art Museum (CAM) St. Louis, St. Louis (2017); Joslyn Art Museum, Omaha (2017); Rubell Museum, Miami (2016); Cantor Arts Center, Stanford (2013) and the Sharjah Biennial, United Arab Emirates (2009). Forthcoming shows include: The Touch of Otherness, The Savannah College of Art and Design (SCAD), Savannah (2022) and ICA San Francisco, San Francisco (2023).

Image: Entangled (detail), oil on linen, 2021, 70 x 70cm. Courtesy of the artist and Pilar Corrias, London. Photography: Fredrik Nilsen.

For more: https://mosaicrooms.org/event/hayv-kahraman-gut-feelings/

The Mosaic Rooms presents ‘Gut Feelings’, a solo exhibition of paintings and mixed media works by Hayv Kahraman. In this new work, the artist delves into scientific research to situate the effects of trauma in the body and to investigate methodologies of physical healing and care. Developing from Kahraman’s ongoing exploration of embodied experiences of ‘Otherness’, the gut acts as a formal and material trope to investigate ideas of trauma and renewal.

In this new series of paintings and drawings twisted and knotted intestine-like cords seem to engulf the female figures. Organ-like labyrinths allude to a complex web of interconnectivity, reminiscent of neurological transmitters, simultaneously entrapping and emancipating the female figures entangled within them. These repeatedly explored imageries are painted on linen canvasses, paper and on handmade flax fabric, a new material for the artist. Kahraman began deconstructing the linen that she paints on, exploring how the flax fibres, before being woven and spun into linen, are harvested by bacteria in the soil. These works give an intimate insight into how Kahraman’s wide-ranging research informs her practice and her experimentation with processes and form.

“I was cleaning out my mother’s belongings and found a book titled ‘Neurosculpting’, did you know that you have the ability to physiologically re-create new neuropathways in your brain, to re-sculpt, to unlearn and relearn? Now imagine what that means for a refugee.

“I think about my own experiences as an Iraqi who fled the war to Sweden, and can’t help but notice an insidious regurgitation of pain that circulates in the migrant communities I belong to. The system (humanitarian agencies and social welfare governmental agencies) requires the display of trauma, the more you are known to have suffered, the more chance you have of the ‘reward’ of safety. Reliving this trauma can be gut-wrenching and has unrelenting somatic consequences. The confluence of pain and reward becomes a pernicious currency and “we” (refugees) inherit this to a point where it becomes our omnipresent identity.

“I was captivated by the relatively new discovery that ‘colonist’ microbes, these foreign organisms that we’ve culturally learned to think of as dirty things to expel, are the very reason we feel – as humans. The gut produces serotonin ‘the happy hormone’ for example. The fact that alterity albeit in the microbial world is celebrated, makes someone like me, who existed at the periphery, very hopeful.

“And I return to the microbial rich soil that my mother is buried in and think about neuroplasticity which is based on the idea of malleability, fluidity and change. Like the temporal metamorphoses that happens in the soil, can we learn from bacteria and transform to get Unstuck?” – Hayv Kahraman

About Hayv Kahraman

Hayv Kahraman is an Iraqi artist based in Los Angeles whose figurative paintings examine the gendered and racialized body politics of migrant consciousness. Her work is a reflection on Otherness as a form of dehumanisation, focusing on the gap between the immigrant, non-white, genderly marked other and the way they are perceived by the white hetero-patriarchal normative same. Her work has been exhibited at ICA Boston, Boston (2020); Henry Art Gallery, Seattle (2020); De La Warr Pavilion, United Kingdom (2019); Nottingham Contemporary, United Kingdom (2019); Benton Museum of Art at Pomona College, Claremont (2018); Contemporary Art Museum (CAM) St. Louis, St. Louis (2017); Joslyn Art Museum, Omaha (2017); Rubell Museum, Miami (2016); Cantor Arts Center, Stanford (2013) and the Sharjah Biennial, United Arab Emirates (2009). Forthcoming shows include: The Touch of Otherness, The Savannah College of Art and Design (SCAD), Savannah (2022) and ICA San Francisco, San Francisco (2023).

Image: Entangled (detail), oil on linen, 2021, 70 x 70cm. Courtesy of the artist and Pilar Corrias, London. Photography: Fredrik Nilsen.

For more: https://mosaicrooms.org/event/hayv-kahraman-gut-feelings/

Presented by Arts Canteen and Grand Junction

Blending traditional Arabic music with soul, jazz and electronic sounds. Oum’s music is sensual, atmospheric and danceable.

Easily recognizable by her elaborate head wraps and captivating stage presence, Oum el Ghait Benessahraoui, known as Oum, is a Moroccan singer of Saharan origins. Defined by lyrics full of social commentary, and finding inspiration in the traditional Moroccan rhythms of Gnawa.

For more: https://grandjunction.org.uk/events/oum/

This event is part of the Hello Again Hackney ~ A special series of performances to welcome Hackney residents back to SJQ. This event is a collaboration between SJQ and The Majazz Project.

Hailing from Central Sudan and now based in London after fleeing the fundamentalist takeover in that region, the Scorpios are a septet that melds Arabic rhythms and guitar chops with a raw Eastern funk feel, properly dismantling cultural barriers in pursuit of a unifying rhythmic bliss. Heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound that owes as much to Detroit as it does to Khartoum.

The Scorpios will be joined by The Momo Collective playing jazz, old school breakbeats, psych and latin.

This is 18 and over event.

For tickets: https://www.wegottickets.com/event/535706

The Mosaic Rooms presents ‘Gut Feelings’, a solo exhibition of paintings and mixed media works by Hayv Kahraman. In this new work, the artist delves into scientific research to situate the effects of trauma in the body and to investigate methodologies of physical healing and care. Developing from Kahraman’s ongoing exploration of embodied experiences of ‘Otherness’, the gut acts as a formal and material trope to investigate ideas of trauma and renewal.

In this new series of paintings and drawings twisted and knotted intestine-like cords seem to engulf the female figures. Organ-like labyrinths allude to a complex web of interconnectivity, reminiscent of neurological transmitters, simultaneously entrapping and emancipating the female figures entangled within them. These repeatedly explored imageries are painted on linen canvasses, paper and on handmade flax fabric, a new material for the artist. Kahraman began deconstructing the linen that she paints on, exploring how the flax fibres, before being woven and spun into linen, are harvested by bacteria in the soil. These works give an intimate insight into how Kahraman’s wide-ranging research informs her practice and her experimentation with processes and form.

“I was cleaning out my mother’s belongings and found a book titled ‘Neurosculpting’, did you know that you have the ability to physiologically re-create new neuropathways in your brain, to re-sculpt, to unlearn and relearn? Now imagine what that means for a refugee.

“I think about my own experiences as an Iraqi who fled the war to Sweden, and can’t help but notice an insidious regurgitation of pain that circulates in the migrant communities I belong to. The system (humanitarian agencies and social welfare governmental agencies) requires the display of trauma, the more you are known to have suffered, the more chance you have of the ‘reward’ of safety. Reliving this trauma can be gut-wrenching and has unrelenting somatic consequences. The confluence of pain and reward becomes a pernicious currency and “we” (refugees) inherit this to a point where it becomes our omnipresent identity.

“I was captivated by the relatively new discovery that ‘colonist’ microbes, these foreign organisms that we’ve culturally learned to think of as dirty things to expel, are the very reason we feel – as humans. The gut produces serotonin ‘the happy hormone’ for example. The fact that alterity albeit in the microbial world is celebrated, makes someone like me, who existed at the periphery, very hopeful.

“And I return to the microbial rich soil that my mother is buried in and think about neuroplasticity which is based on the idea of malleability, fluidity and change. Like the temporal metamorphoses that happens in the soil, can we learn from bacteria and transform to get Unstuck?” – Hayv Kahraman

About Hayv Kahraman

Hayv Kahraman is an Iraqi artist based in Los Angeles whose figurative paintings examine the gendered and racialized body politics of migrant consciousness. Her work is a reflection on Otherness as a form of dehumanisation, focusing on the gap between the immigrant, non-white, genderly marked other and the way they are perceived by the white hetero-patriarchal normative same. Her work has been exhibited at ICA Boston, Boston (2020); Henry Art Gallery, Seattle (2020); De La Warr Pavilion, United Kingdom (2019); Nottingham Contemporary, United Kingdom (2019); Benton Museum of Art at Pomona College, Claremont (2018); Contemporary Art Museum (CAM) St. Louis, St. Louis (2017); Joslyn Art Museum, Omaha (2017); Rubell Museum, Miami (2016); Cantor Arts Center, Stanford (2013) and the Sharjah Biennial, United Arab Emirates (2009). Forthcoming shows include: The Touch of Otherness, The Savannah College of Art and Design (SCAD), Savannah (2022) and ICA San Francisco, San Francisco (2023).

Image: Entangled (detail), oil on linen, 2021, 70 x 70cm. Courtesy of the artist and Pilar Corrias, London. Photography: Fredrik Nilsen.

For more: https://mosaicrooms.org/event/hayv-kahraman-gut-feelings/

The Mosaic Rooms presents ‘Gut Feelings’, a solo exhibition of paintings and mixed media works by Hayv Kahraman. In this new work, the artist delves into scientific research to situate the effects of trauma in the body and to investigate methodologies of physical healing and care. Developing from Kahraman’s ongoing exploration of embodied experiences of ‘Otherness’, the gut acts as a formal and material trope to investigate ideas of trauma and renewal.

In this new series of paintings and drawings twisted and knotted intestine-like cords seem to engulf the female figures. Organ-like labyrinths allude to a complex web of interconnectivity, reminiscent of neurological transmitters, simultaneously entrapping and emancipating the female figures entangled within them. These repeatedly explored imageries are painted on linen canvasses, paper and on handmade flax fabric, a new material for the artist. Kahraman began deconstructing the linen that she paints on, exploring how the flax fibres, before being woven and spun into linen, are harvested by bacteria in the soil. These works give an intimate insight into how Kahraman’s wide-ranging research informs her practice and her experimentation with processes and form.

“I was cleaning out my mother’s belongings and found a book titled ‘Neurosculpting’, did you know that you have the ability to physiologically re-create new neuropathways in your brain, to re-sculpt, to unlearn and relearn? Now imagine what that means for a refugee.

“I think about my own experiences as an Iraqi who fled the war to Sweden, and can’t help but notice an insidious regurgitation of pain that circulates in the migrant communities I belong to. The system (humanitarian agencies and social welfare governmental agencies) requires the display of trauma, the more you are known to have suffered, the more chance you have of the ‘reward’ of safety. Reliving this trauma can be gut-wrenching and has unrelenting somatic consequences. The confluence of pain and reward becomes a pernicious currency and “we” (refugees) inherit this to a point where it becomes our omnipresent identity.

“I was captivated by the relatively new discovery that ‘colonist’ microbes, these foreign organisms that we’ve culturally learned to think of as dirty things to expel, are the very reason we feel – as humans. The gut produces serotonin ‘the happy hormone’ for example. The fact that alterity albeit in the microbial world is celebrated, makes someone like me, who existed at the periphery, very hopeful.

“And I return to the microbial rich soil that my mother is buried in and think about neuroplasticity which is based on the idea of malleability, fluidity and change. Like the temporal metamorphoses that happens in the soil, can we learn from bacteria and transform to get Unstuck?” – Hayv Kahraman

About Hayv Kahraman

Hayv Kahraman is an Iraqi artist based in Los Angeles whose figurative paintings examine the gendered and racialized body politics of migrant consciousness. Her work is a reflection on Otherness as a form of dehumanisation, focusing on the gap between the immigrant, non-white, genderly marked other and the way they are perceived by the white hetero-patriarchal normative same. Her work has been exhibited at ICA Boston, Boston (2020); Henry Art Gallery, Seattle (2020); De La Warr Pavilion, United Kingdom (2019); Nottingham Contemporary, United Kingdom (2019); Benton Museum of Art at Pomona College, Claremont (2018); Contemporary Art Museum (CAM) St. Louis, St. Louis (2017); Joslyn Art Museum, Omaha (2017); Rubell Museum, Miami (2016); Cantor Arts Center, Stanford (2013) and the Sharjah Biennial, United Arab Emirates (2009). Forthcoming shows include: The Touch of Otherness, The Savannah College of Art and Design (SCAD), Savannah (2022) and ICA San Francisco, San Francisco (2023).

Image: Entangled (detail), oil on linen, 2021, 70 x 70cm. Courtesy of the artist and Pilar Corrias, London. Photography: Fredrik Nilsen.

For more: https://mosaicrooms.org/event/hayv-kahraman-gut-feelings/