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Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Memories from Architectures of Planetary Wellbeing last September.
Not even in my wildest dreams did I imagine bringing together so many beautiful people who have shaped the way I understand life and, with that, art, land, politics, and our ways of existing in the world. A room full of generous minds. And at @oficinauzynauzona!!! Overwhelmed with joy 🥹💖
Also, my first time working in Brazil in almost 10 years - giving thanks to @rearc.institute for dreaming big and making it happen 🫶🏽
Incredibly important publication documenting student activism across UK universities towards Palestinian liberation. I wish this stood only as a record of past struggles, but the genocide continues.
Initiated as part of iniva’s Global Resiliencies project, when @cmuins and I felt the urgency to historicise and document one of the most important actions of our time, and the brave and unseen labour that sustains frontline protests, occupations, and beyond.
Beautifully edited and organised by deeply talented and dedicated Tessnim and Zissel - they made this project bigger than we could ever imagine ❤️
Endless gratitude to everyone who has had the courage to stand on the right side of history. Thank you Tess, Zissel, and every student who put themselves at risk, held institutions accountable, and made space for us to dream and act towards a free Palestine.
Please consider buying a copy -all proceeds go toward a second print run. Any excess proceeds go directly to the people of Gaza. ❤️
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reposted: @rca.palestine.society 📣 OUT NOW – Until Palestine is Free: Lessons From a Student Intifada We are thrilled to announce the release of Until Palestine is Free: Lessons From a Student Intifada, a student-led publication born out of workshops and conversations with organisers across the UK. Documenting the historic resurgence of student organising for Palestine from 2023–2024, this project is guided by the Palestinian principle of tarakum (accumulation). We know liberation is a protracted struggle that demands we continue to come together, organise, and build power. 📖 Part archive, part toolkit, the book spans 316 pages across six themes - Organising Skills, Coalition Building, Encampments/Occupations, Welfare, Repression, and Art as Resistance. It is a resource grounded in anti-zionism and anti-imperialism, a refusal to look away, and an invitation to join the fight for liberation. Initiated by: @iniva_arts 📕 Edited + designed by: Zissel Aronow @zissel_____ & Tessnim Tolba @tessnimtolba 🎨 Illustrations by: Lewis Danielski @odditycraft 🎨 Additional design by: Mikki Janower @mikkijanower
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
Last week I was telling some new friends about Escuela de la Tierra, and since then I’ve been wanting to share more documentation from the project. I often return to it with gratitude for the conversations it made possible, ideas it opened up, and the experience of working with young people in Cuba.
It was also a privilege to dedicate time and thought to further understand how indigeneity is constructed in South America, particularly in Brazil, and in the Caribbean. An opportunity to revisit Sylvia Wynter’s writings and to reflect on how education, land, and identity are interwoven across different contexts.
Forever (!) honoured to have thought alongside people who are working with such consistency to transform the cultural and political landscape for Indigenous peoples in Brazil. And still carrying deep gratitude for the generous artists who contributed to the programme, and for the hospitality and brilliance of Cuban people 🌻💙
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
I wrote a text for @danilozc’s exhibition VIADO and got to weave in some of our favourite shared references, including Jack Halberstam’s ideas on monstrosity and Ana Mendieta’s Silueta series.
Thank you Danilo for the opportunity to think with your work!!
Visit @inspectionpit.uk’s website to read the full text 💌
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
A couple of years ago, @suburbanelectrostar and @justkaitlene told me that Stuart Hall had been to Bahia after they visited @stuarthallap in Birmingham.
Then I found the text from that trip ‘Diasporas, or the Logics of Cultural Translation’. It’s actually a speech Hall gave in Salvador in 2000, where he talks about diaspora, hybridity, translation, and even suggests that the origin of Cultural Studies was shaped in Bahia (don’t quote me here, go read the text).
It took me about 2 years (and 3 trips to Salvador lol) to actually find a project where I could use this text as more than just something that I obsessively highlighted 500 times on my laptop.
The opportunity came when @britisharts confirmed that @iniva_arts would once again do a public programme in Venice, and I got to read Lubaina Himid’s proposal for the British Pavilion.
@lubainapics‘s project, Predicting History: Testing Translation, immediately made me think of Hall. Questions of translation, belonging, exchange, movement, and the ways histories are carried, misread, rewritten, and made legible through material culture were already sitting there.
So last Friday we launched The Message Is in the Pattern, the 3rd edition of iniva’s Post-National Digital Pavilion, featuring 3 new commissions by Anya Paintsil @anyapaintsil , Rose Afefé @roseafefe and Rajyashri Goody @rajgoody
The projects move through hair styling as a site of intimacy and connection, the collective invention of ritual and tradition through Terra Afefé, and the intersections between Dalit literature, food, and education.
Together they think through pattern as something beyond the visual: as repetition, memory, gesture, ritual, relation, and all the small structures through which people make belonging possible.
If you want to know how I somehow stitched together Stuart Hall in Bahia and Lubaina Himid in Venice, the full text is now live on iniva’s website, alongside the three absolutely beautiful new commissions by Anya, Rose and Raj.
Would genuinely love to hear what people think.
And this is not the end of the project!
More soon :) 💖
Our team and artists are in Venice for the 61st Venice Biennale! ❤️
Here are the artists photographed alongside the sections of Lubaina Himid's @lubainapics British Pavilion commission, Predicting History: Testing Translation, that inspired the curatorial thinking behind each artist's place in our Post-National Digital Pavilion: The Message Is in the Pattern.
💗Rajyashri Goody @rajgoody with the Chefs
💜Rose Afefé @roseafefe with the Architects
💛Anya Paintsil @anyapaintsil with the Tailors
Developed in dialogue with the commission, this edition invites artists Anya Paintsil (UK), Rajyashri Goody (India), and Rose Afefé (Brazil) to create new digital work that explores community engagement, cultural translation, and artistic and social practices.
The Message Is in the Pattern will also commission four writers through an international open call to respond to these works in a new publication. ✏️
Stay tuned to see the new digital commissions and for the open call! 😍👀
The Message Is in the Pattern is supported by the British Council @britisharts
Curated by Beatriz Lobo @johnimonlydancingagain with programme support by Vasita (Pleng) Jirathiyut @plengjirathiyut
For more information check out our website or our link in bio!
Our team and artists are in Venice for the 61st Venice Biennale! ❤️
Here are the artists photographed alongside the sections of Lubaina Himid's @lubainapics British Pavilion commission, Predicting History: Testing Translation, that inspired the curatorial thinking behind each artist's place in our Post-National Digital Pavilion: The Message Is in the Pattern.
💗Rajyashri Goody @rajgoody with the Chefs
💜Rose Afefé @roseafefe with the Architects
💛Anya Paintsil @anyapaintsil with the Tailors
Developed in dialogue with the commission, this edition invites artists Anya Paintsil (UK), Rajyashri Goody (India), and Rose Afefé (Brazil) to create new digital work that explores community engagement, cultural translation, and artistic and social practices.
The Message Is in the Pattern will also commission four writers through an international open call to respond to these works in a new publication. ✏️
Stay tuned to see the new digital commissions and for the open call! 😍👀
The Message Is in the Pattern is supported by the British Council @britisharts
Curated by Beatriz Lobo @johnimonlydancingagain with programme support by Vasita (Pleng) Jirathiyut @plengjirathiyut
For more information check out our website or our link in bio!
Our team and artists are in Venice for the 61st Venice Biennale! ❤️
Here are the artists photographed alongside the sections of Lubaina Himid's @lubainapics British Pavilion commission, Predicting History: Testing Translation, that inspired the curatorial thinking behind each artist's place in our Post-National Digital Pavilion: The Message Is in the Pattern.
💗Rajyashri Goody @rajgoody with the Chefs
💜Rose Afefé @roseafefe with the Architects
💛Anya Paintsil @anyapaintsil with the Tailors
Developed in dialogue with the commission, this edition invites artists Anya Paintsil (UK), Rajyashri Goody (India), and Rose Afefé (Brazil) to create new digital work that explores community engagement, cultural translation, and artistic and social practices.
The Message Is in the Pattern will also commission four writers through an international open call to respond to these works in a new publication. ✏️
Stay tuned to see the new digital commissions and for the open call! 😍👀
The Message Is in the Pattern is supported by the British Council @britisharts
Curated by Beatriz Lobo @johnimonlydancingagain with programme support by Vasita (Pleng) Jirathiyut @plengjirathiyut
For more information check out our website or our link in bio!
Our team and artists are in Venice for the 61st Venice Biennale! ❤️
Here are the artists photographed alongside the sections of Lubaina Himid's @lubainapics British Pavilion commission, Predicting History: Testing Translation, that inspired the curatorial thinking behind each artist's place in our Post-National Digital Pavilion: The Message Is in the Pattern.
💗Rajyashri Goody @rajgoody with the Chefs
💜Rose Afefé @roseafefe with the Architects
💛Anya Paintsil @anyapaintsil with the Tailors
Developed in dialogue with the commission, this edition invites artists Anya Paintsil (UK), Rajyashri Goody (India), and Rose Afefé (Brazil) to create new digital work that explores community engagement, cultural translation, and artistic and social practices.
The Message Is in the Pattern will also commission four writers through an international open call to respond to these works in a new publication. ✏️
Stay tuned to see the new digital commissions and for the open call! 😍👀
The Message Is in the Pattern is supported by the British Council @britisharts
Curated by Beatriz Lobo @johnimonlydancingagain with programme support by Vasita (Pleng) Jirathiyut @plengjirathiyut
For more information check out our website or our link in bio!
Our team and artists are in Venice for the 61st Venice Biennale! ❤️
Here are the artists photographed alongside the sections of Lubaina Himid's @lubainapics British Pavilion commission, Predicting History: Testing Translation, that inspired the curatorial thinking behind each artist's place in our Post-National Digital Pavilion: The Message Is in the Pattern.
💗Rajyashri Goody @rajgoody with the Chefs
💜Rose Afefé @roseafefe with the Architects
💛Anya Paintsil @anyapaintsil with the Tailors
Developed in dialogue with the commission, this edition invites artists Anya Paintsil (UK), Rajyashri Goody (India), and Rose Afefé (Brazil) to create new digital work that explores community engagement, cultural translation, and artistic and social practices.
The Message Is in the Pattern will also commission four writers through an international open call to respond to these works in a new publication. ✏️
Stay tuned to see the new digital commissions and for the open call! 😍👀
The Message Is in the Pattern is supported by the British Council @britisharts
Curated by Beatriz Lobo @johnimonlydancingagain with programme support by Vasita (Pleng) Jirathiyut @plengjirathiyut
For more information check out our website or our link in bio!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
Since my first international trip in 2014, I promised myself to visit a new country every year, and I kept it (apart from the obvious pause in 2020). In 2025, I chose to stay in Brasil to sit with the idea of returning home.
To escrevendo isso aqui pra celebrar a benção que foi ter atravessado sete estados nos últimos onze meses. Conheci lugares novos, revisitei outros. Foi um privilégio imenso. Encontrei pessoas extremamente generosas, me emocionei com paisagens, desenvolvi linguagem pra falar da gente. Foram muitos sons, sorrisos, pores do sol, árvores centenárias, cheiros e palavras novas que me atravessaram pra me mostrar as vidas que movimentam nosso país. Fui embora ja com uma saudade enorme de continuar me reconhecendo em nós 🩵
te amo meu Brasil te amo!!!
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