African Art: 1-54 Marrakech 2020

The African Art fair 1-54 has been taking place this weekend:

1-54 Marrakech 2020 | A day at the fair, highlights from collectors  

1-54 Marrakech returned to La Mamounia, 22-23 February 2020.

2020 EDITION

1-54 has carefully selected 20 leading galleries from 10 countries (Belgium, Côte d’Ivoire, Egypt, France, Germany, Italy, Morocco, Senegal, South Africa and the United Kingdom) to exhibit at the third edition of the fair in Marrakech.

The fair will showcase the work of more than 65 artists, both emerging and established, working in a wide variety of mediums and from a range of geographical locations comprising 20 countries.

It was always important for Founding Director, Touria El Glaoui to initiate 1-54 on the African Continent, and in February 2018, the fair was successfully launched in Marrakech. This has allowed the fair to broaden its reach and further diversify its portfolio of exhibiting and promoting gallerists as well as artists who are connected to Africa, adding to the global network 1-54 has cultivated over the past seven years. Marrakech is home to one of the continent’s most dynamic arts scenes and 1-54 Marrakech aims to build on the city’s creative energy fostered by its artists, galleries and institutions.

1-54 Marrakech will be accompanied by 1-54 Forum, the fair’s extensive talks and events programme, which will include artist talks and panel discussions with international curators, artists and cultural producers, to be held at La Mamounia, ESAV and Le 18 in parallel to the fair. For the 2020 Marrakech edition, 1-54 Forum will be curated for the first time by independent art space, The Showroom, London. The project will be led by The Showroom’s curatorial team and takes its methodology from the organisation’s programme of engagement with its local north-west London community, Communal Knowledge. Entitled On focus: Communal Knowledge at Large, 1-54 Forum will explore the potential of that methodology to be translated to other contexts. Nurtured by the insightful contributions of local and international agents, 1-54 Forum will become a platform to interrogate multiple practices of socially engaged art, leading to the production of a new roadmap of organisational and institutional collective methodologies originated by this encounter between artists, activists, institutions and community organisers. The full 1-54 Marrakech 2020 Forum Programme will be announced in January 2020.

1-54 will also present a wide programme of bespoke events in partnership with Musée d’Art Contemporain Africain Al Madeen (MACAAL), musée YVES SAINT LAURENT marrakech, Montresso* Art Foundation, LE 18, Comptoir des Mines Galerie and Institut Français, amongst others. Full details of the 1-54 Public Programme to be announced in January 2020.

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Touria El Glaoui, the director and founder of 1-54, also promoted African art for years.

She is quoted in The Guardian today saying that only in the last decade have institutions begun to take it seriously:  “At the Tate the collection was global but they were just missing an entire continent,” she said.

Tate and MoMa 'playing catch up' in collections of modern African art

Art fair founder says western institutions belatedly investing in contemporary art from Africa

Read here: https://www.theguardian.com/artanddesign/2020/feb/23/tate-and-moma-playing-catch-up-in-collections-of-modern-african-art-contemporary-africa

More: 

Asked whether major western art institutions were now trying to catch up by acquiring more African art, El Glaoui said: “One-hundred per cent. They’re not even hiding it.” She said that trying to get their attention had been a “slow, gradual process”, but that their investment in contemporary works from Africa was crucial.  “We know when the Tate gets focused on something it brings more credibility and more gravitas to whichever part of the world they are focusing on,” said El Glaoui.

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Now all this shows that times are changing. 

I try to go every year to the London edition and interviewed Touria in October 2018, for DW.

If you speak French, you can look here:

http://melissa-on-the-road.blogspot.com/2018/10/reportage-lart-africain-sexpose-londres.html

Le choix de Londres comme base s’est imposé rapidement à la fondatrice, Touria El Glaoui, pour son statut de capitale internationale, multiculturelle, ouverte sur le monde et pour sa situation géographique au carrefour de plusieurs continents. Rencontre sur place avec ce reportage de Mélissa Chemam qui a également suivi quelques artistes. 

 and here: https://www.dw.com/fr/six-mois-pour-tenter-sa-chance-en-allemagne/av-45818171

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I could have been in Marrakech this week... But I'm committed to my work, especially the students, and committed to flying less...

Yet, I personally miss Africa so much... 

I wish I'd live in an era that allowed to live where my bones and DNA came from, there in beautiful North Africa. But too many obstacles...   

Maybe I'll expand on this some day... 

For now, enjoy the images and echos from the fair.

Enya Lachman-Curl's Dive

Absolutely gorgeous work: Art + Music

DIVE: Enya Lachman-Curl

IN COLLABORATION WITH JOSEPH MCGANN, TIM FOK AND ROBBIE THOMPSON

LYCHEE ONE
UNIT 1, 39 GRANSDEN AVENUE LONDON, E8 3QA

27-29TH OF FEBRUARY 2020

PRIVATE VIEW: 27TH OF FEBRUARY, 6-9PM

Text by Mala Yamey

“The screen transformed into a kind of automatic painting...the initial image of a flower becomes a fish, which in turn becomes a hen, before being transformed into a human face and finally the head of a faun.”

(Steven Jacobs ‘Framing Pictures’, 2012 on Picasso painting on glass in Paul Haesaerts’ film Visite à Picasso)

DIVE is a large-scale immersive audio-visual installation conceived by artist Enya Lachman-Curl, film maker Tim Fok, designer Robbie Thompson and composer Joseph McGann. Tim’s film captures Enya’s process as she applies cerulean blue oil paint onto a glass triptych: the camera faces the glass frontally, capturing her creative actions. Set in complete darkness, the visitor is invited to explore the film, projected onto three screens, with only the lights of Enya’s brushstrokes to guide them.

Find Full Text: https://www.theearthissue.com/news/dive

Bristol's newest geniuses:

Kahn & Neek - 'Venus' (S7S011)

'Venus' by Kahn & Neek Kahn & Neek - (Having A Sick Time) In The Mansions Of Bliss EP: https://www.whitepeachrecords.com/forthcoming/s7s011r-kahn-amp-neek-having-a-sick-time-in-the-mansions-of-bliss-pre-order

Launch Party 06/03/2020 Tickets: http://hdfst.uk/E58273 Kahn & Neek w/ Flowdan Commodo & Rocks FOE Lamont Jook & Drone ++ Twitter: https://twitter.com/Sector7Sounds Instagram: https://instagram.com/Sector7Sounds Facebook: https://www.facebook.com/Sector7Sounds Soundcloud: https://soundcloud.com/Sector7Sounds Kahn Twitter: https://twitter.com/kahnbristol/ Facebook: https://www.facebook.com/kahnofficial/ Soundcloud: https://soundcloud.com/kahn/ Instagram: https://www.instagram.com/kahnbristol/ Neek Facebook: https://www.facebook.com/itsneekoffic... Instagram: https://www.instagram.com/sam_neek Video by MFM Films Twitter: https://twitter.com/MFMFilms Choreographed and Performed by Charlotte Baker

The Art Of Extinction Rebellion

Worth a look:

To Rebel Is To Create | Change Incorporated

'Extinction Rebellion isn’t just a global political protest – it’s an artistic movement. Over the past year, artists, musicians, writers, directors and performers have united worldwide to declare a climate emergency, using their talents and imaginations to inspire change. During 2019’s October rebellion, we spoke to some of those involved about how and why they do it.' Original here: https://uk.changeincorporated.com/ Join the Rebellion: https://Rebellion.Earth/ International: https://Rebellion.Global/ 1. #TellTheTruth 2. #ActNow 3. #BeyondPolitics World Map of Extinction Rebellion Groups: https://Rebellion.Global/branches/ Twitter: https://twitter.com/ExtinctionR

HBO Colonialism Docu-series ‘Exterminate All The Brutes’

One of the many projects I was the main researcher for in 2017/2018:

Raoul Peck, the Oscar-nominated director of I Am Not Your Negro, is teaming with HBO for Exterminate All the Brutes, an ambitious four-part hybrid docu-series that will explore the exploitative and genocidal aspects of European colonialism.

The project is being culled from three books: Sven Lindqvist’s 'Exterminate All the Brutes', Roxanne Dunbar-Ortiz’s 'An Indigenous People’s History of the United States' and Michel-Rolph Trouillot’s 'Silencing the Past'.

I suggested to include Roxanne Dunbar-Ortiz's work.

More here:

https://deadline.com/2020/02/raoul-peck-exterminate-all-the-brutes-josh-hartnett-hbo-1202862295/?fbclid=IwAR3M9MwPdlKIkW2lCEgaCjrBiU0PaPJbgbXRAhCQsAMqCsOBbmje1qf2XTM

Raoul Peck Teams With HBO On Colonialism Docuseries ‘Exterminate All The Brutes’; Josh Hartnett To Topline Scripted Portions

Raoul Peck, the Oscar-nominated director of I Am Not Your Negro, is teaming with HBO for Exterminate All the Brutes, an ambitious four-part hybrid docuseries that will explore the exploitative and genocidal aspects of European colonialism.

The project is being culled from three books: Sven Lindqvist’s Exterminate All the Brutes, Roxanne Dunbar-Ortiz’s An Indigenous People’s History of the United States and Michel-Rolph Trouillot’s Silencing the Past.

The series will draw from documentary footage and archival material along with animation and interpretive scripted scenes, with Josh Hartnett to play the lead role in the latter sections.

The aim is to tell a sweeping story from America to Africa in which history, contemporary life and fiction are intertwined. Peck will deconstruct the making and masking of history through a personal voyage into some of the darkest hours of humanity.

“This project has been my biggest challenge so far,” Peck said Tuesday in a release announcing the project. “It forced me to question not only our common knowledge but also my own experience as a filmmaker. I’m excited that HBO is supporting that vision.”

The docu-series is from Velvet Film, with Peck and Rémi Grellety the executive producers. Velvet Film and ICM Partners are repping international sales rights.

Peck won the Outstanding Arts & Culture Documentary Emmy last year for I Am Not Your Negro, in which James Baldwin tells the story of race in modern America via his unfinished novel Remember This House. It was nominated for the Oscar in 2017.

Tricky - 20,20

The man is back with a new release:

20,20
Tricky (out on 6th March)

First track:

Tricky - 'Lonely Dancer' feat. Anika

''Lonely Dancer'' from Tricky's upcoming EP '20,20' out on 6 March 2020.
Stream & download 'Lonely Dancer' Feat Anika and pre-order EP here: https://FalseIdols.lnk.to/2020

LIBERATO X 3D (Massive Attack) X GAIKA - 'WE COME FROM NAPOLI' - ULTRA soundtrack

Napoli's mysterious and anonymous singer Liberato has been working on the soundtrack for ULTRA for months, secretly of course, with 3D from Massive Attack and the London artist/vocalist Gaika.

The track has just been released this 14th of February 2020, from Naples, Italy, one of the most interesting place in the world...

The film will be out in March.

LIBERATO X 3D (Massive Attack) X GAIKA - 'WE COME FROM NAPOLI'

”WE COME FROM NAPOLI“ 
STA INT'A SOUNDTRACK 'E ULTRAS 'O FILM 'E FRATM FRANCESCO LETTIERI ULTRAS 'O CINEMA 9-10-11/03 https://www.ultrasilfilm.com ULTRAS 'NGOPP' A NETFLÌX 20/3 https://www.netflix.com/ultras Regia di Francesco Lettieri Prodotto da Indigo Film Fotografia - Gianluca Palma Aiuto Regia - Francesco Coppola Organizzazione - Alessandro Elia e Walter de Majo Montaggio - Mauro Rodella Costumi - Antonella Mignogna Scenografia - Vincenzo Aquilone Direttore di produzione - Nicola Maiello Location Manager - Raffaele Cortile e Edgardo Pistone Coordinatrice di Produzione - Alessia Rossacco Ispettore di Produzione - Luigi Pompei Segretario di Produzione - Bruno Sullutrone Operatore Steady Cam - Giuliano Molle Assistente Operatore - Fabio Farinaro Fotografo di scena - Glauco Canalis Aiuto Operatore - Pasquale Di Sano Data Manager - Davide Faustico Bomber Design - R.M. Assistente ai costumi - Virginia Carillo Stunt - Diego Guerra e Emanuele Freddo Grafic Design - Antonello Colaps / Dopolavoro Color Grading - Alessio Zanardi Assistente alla regia - Mario Ricci Amministrazione - Studio Tramontano Trasporti - Leur Trasporti Catering - Fratianni Con la collaborazione di Film Commission Regione Campania Si ringraziano: Anemone Film, cinqueesei, Comune di Napoli Area Cultura e Turismo – Servizio Cultura – Ufficio Cinema, Comune di Pozzuoli, Autorità di Sistema Portuale del Mar Tirreno Centrale, Guardia Costiera, Capitaneria di Porto di Napoli, Agenzia delle Dogane – Direzione Interregionale delle Dogane per la Campania e la Calabria, London Store, Antica Tripperia O’ Russ e un grazie speciale a: Pina Causa, Walter d’Aprile, Barbara Diana, Massimiliano Elia, Ottavio Ferulano, Adele Gallo, Domenico Maiello, Francesca Maiello, Brunella Manzi, Fabio Massa, Marcella Mosca, Massimiliano Pacifico, Vincenzo Paccone, Chiara Pandolfo, Costantino Sgamato



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ULTRAS di FRANCESCO LETTIERI - TEASER TRAILER

ULTRAS di FRANCESCO LETTIERI sarà AL CINEMA come FILM EVENTO il 9-10-11 MARZO. Le musiche di Ultras sono di LIBERATO. Alla regia Francesco Lettieri, autore di oltre sessanta videoclip (per Liberato, Calcutta, Emis Killa, Thegiornalisti, Motta e molti altri che hanno ottenuto 160 milioni di visualizzazioni complessive) e qui al suo esordio con un lungometraggio. Il film è scritto dallo stesso Lettieri insieme a Peppe Fiore, e ha come protagonisti Aniello Arena, Ciro Nacca, Simone Borrelli, Daniele Vicorito, Salvatore Pelliccia e Antonia Truppo. Ultras è un film originale Netflix in associazione con RTI prodotto da Indigo Film Dopo l'uscita al cinema verrà rilasciato su Netflix.

Let's talk about local elections!

Chapter One: Local elections and the climate emergency


  The 2020 Bristol City Council election is to take place on 7 May 2020, alongside nationwide local elections.

Why is there nothing about the campaign in the news?

News outlets write more about the US elections than local elections... I wonder what we can do about these from here?

But, as this column says: "Local elections are key to climate action"!!
So let's act and vote - Opinion:
https://mancunion.com/2020/02/13/opinion-local-elections-are-key-to-climate-action/

Written by Sebastian Cousins, contributor

The world is on fire. The ice caps are melting. Yet, we have a government that is simply saying ‘we’ve done enough, let the market sort it out’.

(...)

Other than joining the climate strikes, going vegan and not travelling by plane, what else can an individual do to effect change? Direct action works; the occupation of the John Owens building last year by People and Planet is evidence of that. An essential action that individuals can take is voting in local elections, particularly, voting Green.

It’s not a general election, nor does the result directly affect who’s in the government. But here’s the thing: local government affects you. They run local services, they provide spaces for the public to socialise in, they’re in control of green spaces. It’s not all just about bins!

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The campaigner adds that in Manchester, "public transport is a real issue."
So is it in Paris, London, and especially here in Bristol! Where only a few private, expensive and insufficient bus lines are helping us moving around.

I personally walk everywhere, and only take a bus when the journey exceeds 45 minutes. But it's not sustainable for everyone.

I chose to live near the centre, even if it means that I don't have my own place, but I did it so that commuting wouldn't be a problem, as I work with three different institutions, BIMM, UWE, and the Arnolfini, and write and report for diverse media still.

The trains are particularly inefficient in the region, not running often enough and connecting only a limited amount of places.

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Last summer, I spoke the the Green Party candidate for the mayoral election here in Bristol, Sandy Hore-Ruthven, and here is what he had to say. First, we talked about people's expectations in terms of fight against climate, for an article I wrote in French for the magazine Socialter. Then we talked about the Green Party's plans in an interview I was filing for the German international radio, DW.

"Extinction Rebellion has created a space for discussion but now we must act within this space," Sandy Hore-Ruthven told me. "We come to a time when it is time to move from protest to action."

"Here the Greens have had good results in all the last elections, throughout the south-west of England, in particular as a party for the European Union, but especially in Bristol," he added (then in July 2019). "But the real test will be the next municipal elections in May (2020). We want to reduce carbon emissions to zero by 2030. We want to tackle three areas in particular: electrical energy, heating and transports."

 The question is how to transform our current transport system?

"For now, it still relies heavily on cars; every day almost half of the inhabitants travel by car. The rest travel by bus, bike or walk. And we think that we must transform this situation so that a large majority of the population will soon be using public transport, by bicycle or on foot. So we have to develop a good transport system."

This doesn't exactly say how... But we talked about building a tramway, and most engineers stated many times that Bristol is not suited for an underground train system, its rocks are too hard to dig and its hills are a challenge for underground transports anyway. The size of Bristol is also much smaller than London so an underground system would take millions and years to build, which the city probably cannot afford.

Talking about energy, he said: "In terms of electricity, we want to continue investing in renewable energy: Bristol is one of the first cities in the country to have had wind turbines, but it has been caught up, we want to invest in wind energy and build off shore turbines, solar panels."

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The Green Party wants to make the city “carbon free” from 2030, by reducing individual transport, installing a congestion tax (like the one in place in London), by creating additional bus lanes, investing in wind turbines, cycle tracks, railway lines and pedestrian areas.

But these sectors are not always in the domain of the powers of the mayor and the municipal council, responded the Labour Party.

According to me, even though the current Labour Mayor Marvin Rees has declared a "climate emergency" (see here: https://www.theguardian.com/uk-news/2020/feb/04/bristol-declares-ecological-emergency-over-loss-of-wildlife), the party's current and prospective measures in term of action against pollution and global warming are unclear and contradictory.

Luckily,  the recent plan to expand Bristol airport was rejected after climate protests this week: Councillors voted against the plan endorsed by North Somerset council officers, in decision hailed as ‘historic’ (more here: https://www.theguardian.com/uk-news/2020/feb/11/plan-to-expand-bristol-airport-rejected-after-climate-protests).

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This is just a post on my blog to start a discussion. Much more in depth articles on these issues are needed and I count on some media to start the conversation.

I could also draw examples and lessons from my hometown, Paris, and a few other places where I've lived, Prague, Miami or London, simply.

I'll try to work around it in the coming weeks...


Thanks for reading,

Melissa Chemam

Arnolfini Gallery - Ep. 4: Art as an experience of closeness beyond separation

Dear readers,

since September 2019, I've been the writer in residence at the Arnolfini International Art Centre in Bristol, UK.

The first part of my writing, on feminist art and resistance, is now online on their blog here:
https://arnolfini.org.uk/category/writer-in-residence/

 I'm happy to announced that the gallery has extended my residency until the beginning of the summer...  Here is the new episode, inspired by Amak Mahmoodian's Zanjir exhibition...

Ep. 4 – Amak Mahmoodian’s Zanjir: Art as an experience of closeness beyond separation 

Bristol, February 2020 

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Distance, departure, death.

Three notions that have been driving Amak Mahmooding’s work, now on display in the first gallery of the Arnofini. Through archival material from her country of birth, Iran, her own artistic photographs and some texts inspired by these reflections, Amak can help us process an often unspoken series of feelings, inspired to all humans by the passage of time, the loss of people, places and experiences.

Two women, separated by almost 200 years, guide us into this emotional reflection on our constant feelings of separation, mostly denied in the modern world, but above all teach us how to reconnect… With the past, with our lost loved ones, with ourselves and with the people we love the most, beyond time and distance. 

The Persian princess who in the middle of the 19^th century became a pioneer feminist, Taj al-Saltaneh and her father, the Persian king Naser al-Din Shah Qajar, are at the centre of Zanjir, an exhibition of the artistic photographic work of Amak Mahmoodian, curated by Alejandro Acin and the Kieran Swann for the Arnolfini. 

And so are Amak’s own parents: Her mother, whom she calls every day from here, Bristol, and her father, who sadly passed away a few years ago.

Her book and exhibition Zanjir thus creates a dialogue between Taj and Amak, between different parts of history, and different parts of the world, but also between them and the public of the exhibition. 

Why? And most importantly how? Because as a photographer and a researcher on archival photographic material, Amak has spent years using images to explore her deepest emotions, linked to exile and separation, but above all to overcome these constant tearing feelings of loss and disconnection, some of the emotions that at the core of any human experience.

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When I first listened to Amak Mahmoodian, in December 2019 at the Martin Parr Foundation here in Bristol, I was very touched by her journey… 

She moved from Iran to the UK, two countries often antagonised by history and their politics, and is now almost unable to go back, missing daily her mother, her culture, her language, her previous life… Because of repression, harassment during her last trips, multiple arrests and the general dislike of her photographic work in Iran, she has been away for years.

And I have myself written and reported about migrations and displacement for years, have also grown up with a mother who had the same experience, coming to Europe at 25 years old, and living in profound nostalgia of her past childhood, both joyful and tragic, until this very day.

Amak’s constant movements between the present and the past, the west and the east, the western way of life and her culture from a Muslim country, her quest to reconnect the present ones and the absents, do mirror my mother’s feelings very deeply, and some of mine, also an outsider here in the UK. 

But through her books, photography and exhibitions, Amak manages to constantly recreate the links that the passage of time tries to destroy… And she’s sharing with us this powerful lesson through her latest exhibition.

So we met again a few weeks later, in the gallery, to pursue our conversation. 

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In between the photographs and texts exhibited, listening to her, I felt we have so much I common. And I’m sure many of you would too…

Surely, her family is from the Middle East, and mine from North Africa, two of the most misunderstood regions here in the West, marred over decades by an imperial past that weighed on their history and politics, but also obviously on our own families’ story… So that is a first strong link. 

We both lost our dads and are very close to our mothers. And we’re even born in the same year…

Then in our experience of expatriation, Amak and I both ended up in Bristol, which was never in any of our early plans!

Since I first moved to the UK in 2009, a lot of British people have asked me if I was Iranian myself. So much that I even wrote a first short story about a young Persian British woman living in London, ten years ago. This sparked a deep reflection in my mind about identity and identities. Since then, I’ve been based in East and Central Africa, moved back to London then returned to Paris, my city of birth, and finally moved to Bristol. In each of these places I’m perceived extremely differently. In Britain, I’m often called Middle Eastern. In East Africa, I was a “white African”; many of my friends told me about how different I was from the “other” European and American “expatriates”. That is how foreigners from the West are called in most African places. While African newcomers are designated as migrants, foreigners, if not outsiders, and in some case undesired intruders.   

But more recently, when I travelled to Iraqi Kurdistan, near Erbil and Mosul, I was asked about my identity because Kurdish people don’t feel at ease with Iraqi Sunnis and Shias, or Iranian people. So they felt reassured that I was French from a North African background. 

When in Turkey or in the Balkans, I was often very warmly welcome on the contrary, just as much as in Sicily and southern Italy. During my first trip to Naples, I was quite surprised as how much I could “fit in” for a change. And in the streets of Palermo, I was constantly asked for directions in the street, mistaken for a local…

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Once she showed me her photographs, Amak explained why she chose to use the process of the “mask”, to make every portrait look more universal: “This one for instance is me under the mask,” she said, “but it could be you or any other person…” It’s about helping us sharing the feelings that motivated the photograph… 

I also asked Amak if she had always knew she would leave her country. Because in her photographs, it looks like she had been destined to go beyond her homeland and its borders. Her story and her research seem to predict her move to England. 

But she had not. She had never dreamed of the western world and wasn’t prepared for such a level of separation with her homeland and original culture. Just like my mother… and maybe like yours. The younger Amak never thought she’d be one day prevented from going back home and seeing her mother.

On the contrary, I have. From a very early age, I have dreamed of walking all over our globe, of foreign lands and long travels. I have always felt a call to be a nomad, maybe like my ancestors? 

But in the end, it doesn’t matter how prepared you think you are, when you become a foreigner, a outlander, a stranger in a place, even when the others are in full acceptance of your differences and choice to invade them, you experience this constant emotion of separation. Yet I believe that every human has this experience regularly. As Amak showed me with Zanjir, we’re all constantly separated from our past and from our most cherished people, moments, places. Constantly trying to recreate the feeling of belonging with the ones we loved and the places that made us who we are. Even if you’ve only moved from West-Super-Mare to Bristol, or whether you have lost a parent or experienced a falling-out with someone you thought was a dear friend or a solid partner… 

Walking across time and continents through Zanjir made me more aware of how universal it can be to feel estranged and lonely; it’s actually a common experience. And having the chance to walk through the exhibition with its creator herself, building up a new links in our lives, made me realise how precious some encounters can be, and how important it is to be grateful for them and nourish them while there is still time. 

I can only invite you to do the same and walk through Zanjir with this powerful thought in mind.

 – Melissa Chemam

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All photos by myself: 

PS. In the next episode, I’ll explore how Angelica Mesiti’s Assembly made me feel about our need to come together in these times of utter individualism…

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Read the previous episodes here:

https://arnolfini.org.uk/category/writer-in-residence/