Alongside archival materials, works in the exhibition include:
A newly commissioned film, A Letter (Side B), by Larry Achiampong explores the affective impact of history, immigration, and geographical separation on two brothers living between Britain and Ghana. Collapsing time, the film incorporates recent footage filmed by Achiampong in Ghana as well as archival footage from The Museum of African Art: The Veda and Dr Zdravko Pe?ar Collection in Belgrade, Serbia. Continuing his exploration of the concept of Sanko-time, meaning to go back and retrieve, the work alludes to the importance of the past in the present. The work forms part of a new project titled ‘GH0ST_DATA_’ new series of films by the artist delving into the relationship between depression, black masculinity, and digital anxiety.
In a new film commission, Sunny Railways, Nika Autor traces the construction of the Šamac-Sarajevo railway. In 1947, bonded by the spirit of solidarity, thousands of youth brigadiers from all around the world joined the construction effort. Among them, just a year before the Nakba, a group of Palestinians had travelled to the mountains of Bosnia and Herzegovina. Bringing to the fore two completely different temporal, social, and political realities, the film contrasts the construction of the railways with the ongoing tragedy of refugees travelling the Balkan Route.
Alia Farid’s Mezquitas de Puerto Rico (Hatillo) maps the Arab and South Asian migrations to Latin America and the Caribbean through the built-architecture of mosques as depicted on tapestries created in dialogue with the communities themselves. Woven by Iranian weavers, one tapestry that forms part of a growing and evolving patchwork is shown here, pointing to the trans-regional sites of entangled relation to each other and the legacies of diasporic omnipresence in Puerto Rico.
KURS present a new commission of hybrid text-based work derived from the research on speeches delivered by delegations during the conferences of the Non-Aligned Movement. Synthesising non-aligned principles and reappropriating this material into contemporary struggles, the collective present textile banners and printed materials that bridge the political, revolutionary, and poetic.
In an experimental short film, A 240 Second Analysis of Failure and Hopefulness (with Coke, Vinegar and other Tear Gas Remedies), Basim Magdy interrogates the destruction that takes place on sites of construction. The film points to the cycles of collective hopefulness and failures experienced across generations and societies. A plaque, A Sign for Remembrance, is included in the exhibition as well as an off-site billboard of a poem written by the artist that contemplates the pressures of passing time and the melancholy of ideas and experiences unrealised.
Alongside contemporary works and archival materials, a small selection of works from The Art of Non-aligned Collection Laboratory (a project by the Centre for Contemporary Art of Montenegro) will be shown in London for the first time. The collection holds around 800 artworks from 56 non-aligned countries. Shown here are works selected by curators who have been active carers and guardians of the collection for over 30 years. Among others the selection includes works by Inji Aflatoun and Choukri Mesli.