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Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
Two years ago I visited Delcy Morelos in Bogotá to ask if she would be willing to make an artwork for the Barbican, outdoors in rainy London. After all this time, origo is finally here.
origo is a monumental work made of humble materials. It took over one month of intense physical labour to make—almost 30 tonnes of soil and clay passed through Delcy and her team’s hands.
This is the first time in ten years that an artwork is shown on our Sculpture Court. It is free to visit, I hope you come see it!
poured a lot of love into this. ‘It Will End In Tears’ is now open to the public at @barbicancentre. Congratulations @pamelaphatsimo
@remco_osorio_lobato
@olivialeahy_
@jostellasawicka
@amazingtwins
poured a lot of love into this. ‘It Will End In Tears’ is now open to the public at @barbicancentre. Congratulations @pamelaphatsimo
@remco_osorio_lobato
@olivialeahy_
@jostellasawicka
@amazingtwins
poured a lot of love into this. ‘It Will End In Tears’ is now open to the public at @barbicancentre. Congratulations @pamelaphatsimo
@remco_osorio_lobato
@olivialeahy_
@jostellasawicka
@amazingtwins
poured a lot of love into this. ‘It Will End In Tears’ is now open to the public at @barbicancentre. Congratulations @pamelaphatsimo
@remco_osorio_lobato
@olivialeahy_
@jostellasawicka
@amazingtwins
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
our exhibition, Unravel: The Power and Politics of Textiles in Art, is open to the public at the @barbicancentre
the show is big and teeming with beautiful art - some works monumental and imposing, others minuscule and hanging together by a thread. so much time, love and care was put into every detail by so many people and I would love for you to see it.
It runs until the 26 of may and every Thursday you can choose how much you pay to get in. I’ll be leading a tour of the show on the 29th of February, which will be more expensive, but if you’d like to attend you can buy tickets through the link in my bio.
the last photo is of the Unravel team with the legendary Harmony Hammond, hugely important figure in our show, in the 70s feminist art movement, and all around lovely person. so much love to @wellsfs @lotterebjohnson @amandapinatih and everyone else who worked on this. it was a dream.
P.S. throughout this project I learned so much from artists who, throughout history, were pushed to the margins or silenced in multifarious ways. solidarity always with those who continue to experience this today
Photography by Jo Underhill and Jemima Yong
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
in March a display I co-curated at @tate britain with @chloe__eleanor (who did most of the heavy lifting) opened to the public.
finally decided to post about it, with some install shots I ripped from Tate’s website lol and some bts including gigantic crates of rice, digital drawing I made of the wall for Anya gallaccio’s work that was used to build the wall irl, people looking at and enjoying the works, etc
The display is full of weird geometry and textures and sounds and smells and if you go in the evening you’ll get a completely different experience than you would in the morning. Also at a party someone told me they ended up sleeping with their hinge date because of comments they made when they went to see the show together.
It’s open until January, only saw the review on the final slide today. Thanks for the kind words @hyperallergic
@emogirl4 @vongphaophanit.claireoboussier @rachelwhitereadofficial @anyagallaccio #SusanHiller
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
@tate Britain’s rehang officially opened yesterday - the museum’s first in over a decade. All my colleagues and friends did an incredible job!!
I helped curate and deliver a programme of contemporary interventions in the museum’s historic galleries intended to paint a truer picture of Britain’s history of class, empire, race, etc.
Some things I worked on included helping make talking furniture & wallpaper about utopic, proto-feminist, proto-communist groups that popped up after the English civil war with Nils Norman; a poster exploring late 80s rave culture, land rights and our place within nature with Jay Bernard; a display curated by Jeremy Deller on William Morris and socialism, among many other amazing projects.
I also worked with incredible colleagues, artists and friends who finished off these projects for me in the last two months.
Hate posting ~sincerely~ and might delete, but feeling incredibly lucky and proud to have taken part in this. Will prob post more when proper install photography comes through but for now I had to share
💘hello from the north 💘
my radio show EL SUR debuts on @fsr.live tonight at 8 pm
music from the global south exclusively, w a focus on ‘latin america’. should have some cool guests on too.
today’s show has nueva canción from Chile and Argentina, folk from Uruguay, love songs from Brazil, music from pre-revolution Cuba + lots more
💘hello from the north 💘
my radio show EL SUR debuts on @fsr.live tonight at 8 pm
music from the global south exclusively, w a focus on ‘latin america’. should have some cool guests on too.
today’s show has nueva canción from Chile and Argentina, folk from Uruguay, love songs from Brazil, music from pre-revolution Cuba + lots more
💘hello from the north 💘
my radio show EL SUR debuts on @fsr.live tonight at 8 pm
music from the global south exclusively, w a focus on ‘latin america’. should have some cool guests on too.
today’s show has nueva canción from Chile and Argentina, folk from Uruguay, love songs from Brazil, music from pre-revolution Cuba + lots more
💘hello from the north 💘
my radio show EL SUR debuts on @fsr.live tonight at 8 pm
music from the global south exclusively, w a focus on ‘latin america’. should have some cool guests on too.
today’s show has nueva canción from Chile and Argentina, folk from Uruguay, love songs from Brazil, music from pre-revolution Cuba + lots more
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
first project since joining @tate as assistant curator is now live ! Performance by Christina Lovey curated by me on July 2nd. Also playing @thecavendisharmsstockwell w @baggioband 16 June and with @halflungclub 30 June.
posting to let everyone know that a) I accidentally shaved a giant rectangle into my already questionable beard b) a show I co-curated feat. Hudinilson Jr and León Ferrari opens next week at @artexchange and c) I’m going to be part of a panel discussion on ‘decolonial exhibition making’ at @gasworkslondon on Wednesday, as part of @itsgala ‘s v cool exhibition. If u want to come to any of these things lmk!! ❤️🔥
posting to let everyone know that a) I accidentally shaved a giant rectangle into my already questionable beard b) a show I co-curated feat. Hudinilson Jr and León Ferrari opens next week at @artexchange and c) I’m going to be part of a panel discussion on ‘decolonial exhibition making’ at @gasworkslondon on Wednesday, as part of @itsgala ‘s v cool exhibition. If u want to come to any of these things lmk!! ❤️🔥
posting to let everyone know that a) I accidentally shaved a giant rectangle into my already questionable beard b) a show I co-curated feat. Hudinilson Jr and León Ferrari opens next week at @artexchange and c) I’m going to be part of a panel discussion on ‘decolonial exhibition making’ at @gasworkslondon on Wednesday, as part of @itsgala ‘s v cool exhibition. If u want to come to any of these things lmk!! ❤️🔥
posting to let everyone know that a) I accidentally shaved a giant rectangle into my already questionable beard b) a show I co-curated feat. Hudinilson Jr and León Ferrari opens next week at @artexchange and c) I’m going to be part of a panel discussion on ‘decolonial exhibition making’ at @gasworkslondon on Wednesday, as part of @itsgala ‘s v cool exhibition. If u want to come to any of these things lmk!! ❤️🔥
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
nov. 6 playing drums for my friend @baggioband at @theoldbluelast. yesterday presented at a conference right after Rosi Braidotti. today tonsillitis is back.
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