In and Beyond the Studio (2022)

In and Beyond the Studio is an end of residency exhibition showcasing the works of artists Alecia Neo, Arabel Lebrusan and Latifah A.Stranack who work in very different ways. The exhibition journeys in and beyond the artists’ studios, showcasing a selection of finished outputs alongside documentation of how the artists execute their ideas – highlighting the different methods and processes that shape the works.

Nineteen Forty – 2022 (2022)

Nineteen Forty – 2022 is an end of training residency exhibition showcasing works by Pablo Paillole, Yasmine Aminanda, Abdul Shakir and Charlie Fitz. The exhibition explores our relationship with the past and how this informs the way we view ourselves, others, and build the future. The presented works use archival structures as a tool for questioning the worlds we find ourselves within.

Despite Extractivism (2022)

Despite Extractivism assembles expressions of care, creativity and community in relation to diverse extractive contexts. The works in Despite Extractivism illuminate and explore ways of questioning, subverting and resisting the violent logics and impacts of extractivism

Blunt Blades Online (2021)

Blunt Blades is a project by artist Arabel Lebrusan which centres on our complex relationships with knives, exploring whether the meanings of objects can be re-established via material transformation and contextualisation. Curated and produced the online exhibition for Blunt Blades Exhibition and Blunt Blades Exchange, in tandem with the physical exhibition held at The Higgins Bedford.

Aesthetics of Silence (2021)

Conceived by Celina Loh, co-curated by Celina Loh and Amanda Ariawan, produced by Wei-Ling Contemporary. Aesthetics of Silence borrows its title from Susan Sontag’s first essay from her famous oeuvre, ‘Styles of Radical Will’ (1969), in which she examines how silence mediates the role of art as a form of spirituality, particularly in a globalised world.

100 Pieces: Art for All (2021)

Co-curated by Amanda Ariawan and Celina Loh. 100 Pieces: Art for All presents an opportunity where those who are interested in starting to collect art, can begin. The art fair style exhibition hopes to reevaluate the misconception that art collecting is for the elite few. By offering artworks which start from RM 400 (£70), it hopes to make art collecting more accessible to the wider public.

John Latham: Forget Everything You Ever Knew (2020)

John Latham: Now Forget Everything You Ever Knew, an online exhibition that starts from an untitled, undated poem written by John Latham. Latham’s elusive text speaks to a process of unlearning, through an exploration of language that attempts to interrogate received knowledge. In correspondence with such ideas, Ifeanyi Awachie, Anna Barham and Noa Latham have been invited to respond to John Latham’s writing through the lens of poetics, time and politics.

Shifting Boundaries (2020)

Shifting Boundaries is conceived as an online meeting space where we explore what it means to trust and step out of one’s threshold. Conceptualised during the Covid-19 lockdown, this gathering space coordinates our return to one another and to shared spaces. Acknowledging the importance of trust and love at a time of difficulty and uncertainty, the exhibition considers the role artists can play in developing ideas of togetherness through collaboration and stepping out of comfort zones.

Ballets Russes: Concealed Histories (2020)

Ballets Russes: Concealed Histories offers a survey of the dance troupe’s textile pieces, showcasing myriad details that contributed to their recognition as one of the most influential ballet companies of the 20th century. The exhibition examines how these costumes offer a historical and contemporary reconsideration of the ballet troupe in terms of its design, choreography and music.

Objectivity: a constellation of ideas, objects and people (2020)

Objectivity: a constellation of ideas, objects and people features a selection of objects from The David Usborne Collection which share limited biographies regarding their provenance and history. Conceived as a method of research for knowledge-making, the exhibition works toward expanding new and established narratives as opposed to reinstituting formalised bodies of knowledge.