From video games tracing their journeys towards “refuge,” to art that attempts to package their experiences into tangible, material objects, displaced people have continued to find new ways to articulate their traumas and produce creative material out of it that ends up carrying an unparalleled quality of precarity and ingenuity.One particular form that refugees have been using for decades as a platform for cathartic creative expression, is poetry. 

The Africa Institute and Sharjah Art Museum present Homebound: A Journey in Photography, a two-part exhibition about the work and career of the acclaimed artist and photographer Aïda Muluneh. Part of The Africa Institute’s Ethiopia season, this exhibition is the first presentation of Muluneh’s work in Sharjah.

Using photographs as an instrument of memory is probably a mistake because I think that photographs actually sort of impoverish your memory in certain ways, sort of take away all the other senses — the sense of smell and taste and texture, that kind of stuff.I think about so many things, unwritten, un-photographed, much of it as entertaining and complex as what I wrote about in Hold Still. I used to envy writers their technical and temporal freedom

UK Science Museum group is building a coronavirus collection in response to pandemic. Items such as the letter sent by Prime Minister Boris Johnson to all UK households about the coronavirus outbreak could be among the items collected.The experimental magnets which were accidentally lodged up a scientist’s nose as part of an attempt to create an anti-virus device may also be included. Hand sanitiser and social distancing posters might also be acquired for future generations, while digital content is another important aspect of the research.

hirteen Indigenous Elders from around the world come together to co-create a message for
humankind, weaving wisdom of diverse cultures and lifeways, uncovering one common thread:
for humanity to survive, we must shift our consciousness from the mind to the heart.
The Elders gathered for four days in council and ceremony on the island of Kaua’i, Hawai’

“Obtrusive and invasive, Barlow’s large-scale sculptural objects are frequently arranged in complex installations in which mass and volume seem to be at odds with the space around them. Their role is restless and unpredictable: they block, interrupt, intervene, straddle and perch, both dictating and challenging the experience of viewing.”Her constructions are often crudely painted in industrial or synthetic colours, resulting in abstract, seemingly unstable forms.