Projects

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Through videos, drawings, installations and public interventions, the work of Alia Farid explores contemporary urban life against the background of the complex colonial histories of Kuwait and Puerto Rico, her two countries of origin.

Wu Tsang’s artistic practice explores states of connectedness and in-betweenness. This fluidity often manifests as collaboration or is amplified in the merging of disciplines, such as performance, moving image, sculpture and installation.

Caecilia Tripp’s work is rooted in collaborative practice and the development of dialogic imagination as a form of celebration of togetherness and shared futures.

Wael Shawky’s multifaceted practice and diverse artistic repertoire animate historical narratives, dramatising the process of writing history through careful study of stereotypes, myths and traditions.

Best known for her performance work that embodies a feminist perspective, Tracey Rose often conceives of rich characters who inhabit tableaus as visceral, complex and unnerving as the worlds from which they are torn.

New Orleans Airlift is an artist-driven initiative that collaborates and creates alongside other artists and communities. For SB14, the collective consists of Delaney Martin, Alita Edgar and Taylor Shepherd

Approaching the body as a bearer of collective memory, Mohau Modisakeng’s work invokes historical mechanisms of violence and grapples with the tensions and contradictions of inequality, exploitation, slavery and race.

Interested in the iconography of the domestic sphere as well as fiber-based production processes, Suchitra Mattai creates work in various mediums that investigates the complex relationships between history, memory and the construction of identity in diasporic communities.

For SB14, Martiel presents two commissioned projects that further his research on the African diaspora, systems of value and cultural histories.

Ulrik López’s drawings and sculptures draw on his research in archaeology, myth and ritual.

Over the last 20 years, Laura Lima’s practice has destabilised conventions of contemporary art viewership, and more specifically, the pat expectation of revelatory insight that people have come to expect from conceptual practices.