Ways of Working

I’m so pleased that Perspective(s) the exhibition for which I was lead artist in collaboration with @_waysofworking_ , was selected as a case study by the National Centre for Academic and Cultural Exchange. Among many things, this project was about holding space for multiple perspectives especially the ones that don’t usually get centred and thinking through whose knowledge gets seen, valued, and archived. Really glad to see that kind of work being recognised in this way. A special shout out to @maimusie who recognised that our project needed to be a case study.

Khawaab mahal

How do museums tell stories? What do we leave out? How was/is power used? Khawaab Mahal (Dream Palace) is an immersive installation that reimagines the tent of Tipu Sultan, the legendary 18th-century ruler of the Kingdom of Mysore in South India. Looted by Edward Clive (son of Clive of India) after Tipu’s death in battle, the tent was taken to Powis Castle, where it became a symbol of British domination—used for garden parties – an insult to its original purpose. Now, digitally revived on printed fabric and surrounded by dreamlike soundscapes, the tent invites visitors to step into Tipu’s world, reclaim a stolen legacy, and take part in a conversation across time. We were joined by Nasia and Owen to explore the themes of the installation, which will be in our South Asia Gallery until August 31st, 2025. 🔗 More info: /event/khawaab-mahal-and-absent-presence/

How do museums tell stories? What do we leave out? How was/is power used? Khawaab Mahal (Dream Palace) invites you to step inside the world of Tipu Sultan, the legendary 18th-century ruler of the Kingdom of Mysore in South India, to experience his dreams and witness a conversation across time. The installation reimagines Tipu Sultan’s tent, which was looted by Clive of India’s son Edward Clive, after Tipu died in battle. This beautiful tent, now housed at Powis Castle, became a symbol of British domination, often used for garden parties – an insult to its original purpose. The recreated tent uses digital images of the original, printed on fabric. Visitors are invited to immerse themselves in Tipu’s world, surrounded by soundscapes and dreams, reclaiming a space once taken through force. Here are some photos of the installation, launch event this Wednesday! More info here 👉 /event/khawaab-mahal-and-absent-presence/ Book tickets for the launch event here 👉 /event/khawaab-mahal-and-absent-presence-launch-event/

#Repost @take_a_part_plymouth ・・・ Last week, Welsh environmental and socially engaged artist @_owengriffiths was in Plymouth for ‘Bridging Cultures’ - a Connections Through Culture grant project supported by @my_british Take A Part and @globalenvironmentcentre are working with Owen and Orang Asli Indigenous artist and environmentalist @shaqkoyok_art (Banting, Kuala Langat North Forest Reserve, Malaysia) to co-deliver a shared UK-Malaysia community-created environmental justice call to action. This work will allow the artists to share, test, explore practices, and consider ways in which to strengthen and capacity-build the environmental justice and Socially Engaged Arts (SEA) sectors between the UK and Malaysia. Journal making, question generation and a letter from Shaq launched the project with an atmosphere of care, compassion, and camaraderie. The @ocean.city.influencers are also getting involved, adding their perspective to make this project intergenerational as well as international. 📷 Image Credit: Evie’s Question, Ocean City Influencers, 2025.

Redesigning Wales Part of an exhibition, 'Wales is talking about empire', @sarwarskuse and @_waysofworking_ collaborated to create artworks for St Fagans Museum, speaking to Wales' connection to the empire. Using different interiors, the exhibition is placed in visual conjunction to its surroundings. The red sofa, owned by Robert Clive (1725-74, also known as Clive of India) is set in a domestic interior with personal photographs, television and tea set. Sarwar-Skuse recreated this living space from her memories of the 1970s and 1980s. With migration on the mind, this imposing piece of furniture seeks to spark questions about the empire, the diaspora and memories. This scene is connected to the tented display in St Fagans Castle itself. Placed within a Elizabethan meets mid-nineteenth century surrounding, the tent immitates that commissioned by Tipu Sultan (1750-99, ruler of the Kingdom of Mysore). The original tent is now held in Powis Castle, a symbol of cultural looting. This exhibition, despite its size, is mighty, following a continuation by the Arts Council of Wales and Amgueddfa Cymru to reconsider Welsh history and its legacy. These exhibits and projects, set up throughout many historical sites in Wales, alters what we believe to know, re-earthing abadoned or disreagrded histories. Using these different perspectives gives us a more rounded understanding of our past, a chance to decolonise the narrative. On display until 30th March #history #loot #Wales #exhibition #india #decolonize

ENG: "In these natural, silent spaces, we don't have anymore ancient shepherds-peasants plunged into an uncontaminated, wild nature, but urban men living between multiple dimensions, interweaving different gradualities, participating physically and virtually to the economic and cultural dynamics that twist together the urbs become orbs that by now embrace the entire planet" (Lidia Decandia, urbanist). Montadinanza is underpinned by an unlike reasoning:"That of seriously considering a different form of social organisation of mountain settlements, no longer founded on the traditional role of small municipalities, instead based on a bigger dimension as the new lowest local area of interest" (Roberto Mascarucci, urbanist). Thanks @europeanculturalfoundation thanks #cultureofsolidarityfund

ENG: Montadinanza is: Judith Neunhäuserer (1990, Brunico) artist in residency Sara Cattin (1990, Biella) artist in residency Anna Andreoletti (2007, Clusone) Chiara Pendezza (2000, Piario) Christian Gandelli (2006, Gandellino) Ibrahima Camara Fode (2002, Castione della Presolana) Jobayer Mohammad (2000, Gromo) Marta Bonandrini (2007, Gromo) Pietro Cominelli (2008, Villa d’Ogna) Valentina Luiselli (2007, Clusone) Montadinanza is mountain citizenship that: Deepens the meanings of living in the mountains. Reasons on specific facts that concern it Questions its own sense of belonging Imagines and draws its future. Montadinanza deepens, reasons, questions, imagines, and draws on the theme Resilient winters: practices and economies. Mountain regions have specific practices and economies that have changed in time. We are now in a time of change, a climatic one first. Winters in Alta Valle Seriana already show this. What practices and economies shall we continue, which ones abandon, which modify and which ones start. Montadinanza. Resilient winters: practices and economies is an art residency in 3 distinct and complementary acts, each one with its own function, focus and objectives: Prologue (Autumn, 11-24 November 2024) team spirit, acclimatization, examination, exploration, research, raising, meetings. Action (Winter, 20 Jan. – 2 Feb. 2025) managing, selection, revision, planning, experimenting, creating, producing, organising. Epilogue (Spring, 28 Apr. – 11 May 2025) rendering, celebrating, sharing, resolving, presenting, involving, proposing. Montadinanza. Resilient winters: practices and economies is a project by CAP24020 Contemporary Art Practices in partnership with Ways of Working This project is made possible thanks to the financial support of the Culture of Solidarity Fund powered by the European Cultural Foundation. #CultureofSolidarityFund @judith.neun @saracattin @europeanculturalfoundation @ibrahimetc @cominelli_pietro @mart.era_ @annandreoletti @chiara.pendezza @chry_gandelli @valentina_luiselli @majidbabu17 @savina_foresti 📸

Noson o ysbridoliaeth yn Nhalgarth gyda’r awdur ag athronydd @romankrznaric fel rhan or Talgarth Talks series yn @blackmountainscollege An inspirational evening in Talgarth with author and philosopher @romankrznaric as part of the Talgarth Talks series at @blackmountainscollege Roman’s books The Good Ancestor and his new book History for tomorrow are critical systems thinking and social change works. Inspiring ideas for Carmarthen… #thegoodancestor #romankrznaric #historyfortomorrow #localmotioncarmarthen #localmotioncaerfyrddin

I had the privilege of showing historian and curator Raj Pal around our exhibition at St Fagans Museum. Raj has worked extensively on decolonial projects and brought a wealth of knowledge to the table. Naturally, we spent the afternoon deep in conversation about South Asian history, Tipu Sultan, the fractures between Pakistan and India, holy sites, decolonisation, and how these fragments of history can be woven together through storytelling. Raj is currently writing a fascinating book that delves into many of these themes, and I, for one, can’t wait to read it. #NationalMuseumCardiff #SouthAsianHistory #TipuSultan #Decolonisation #DecoloniseTheMuseum

For the past 12 months, I’ve been immersed in the Perspective(s) project, a collaboration with @_waysofworking_ , St Fagans Museum, and @auroratrinitycollectivecardiff This project is truly made up of many hands—an exploration of how museums hold power and how we can begin to deconstruct that power. The work culminated in four installations, including Absent Presence, a short film reflecting on these themes. I’m thrilled to see this work featured in @guardian , but it’s more than just recognition. It’s a reminder that we need to have urgent conversations about dismantling power structures within institutions born out of colonial imaginations. The link to the article which also features the other six artists’ projects is in my bio and also below. /world/2024/nov/21/how-clive-of-indias-1767-sofa-ended-up-in-a-british-south-asian-living-room?CMP=share_btn_url #welshart #artactivism #decolonisethemuseum #decolonise

📣 Lleisiau pwy sy’n cael eu clywed ac hanesion pwy sy’n cael eu hadrodd mewn amgueddfeydd? 📣 Whose voices are heard in museums, and whose histories are told? Mae Safbwynt(iau) yn rhaglen gelfyddydol sy’n ail-edrych ar hanes drwy lygaid saith artist ethnig a diwylliannol amrywiol sy’n gyda gysylltiedig â Chymru Mae’r artistiaid hyn yn herio rhagdybiaethau ac yn dod â naratifau ymylol i’r amlwg. O’r brethyn Welsh Plains, a ddefnyddir i wisgo dioddefwyr caethwasiaeth drawsatlantig, i soffa goch moethus sydd â chysylltiadau â Clive o India a gwladychu India, mae’r gosodiadau hyn yn ein hannog i ailfeddwl am y gorffennol a gweithio tuag at ddyfodol mwy cynhwysol. ✨ Saith artist. Saith amgueddfa genedlaethol. Saith sefydliad celfyddydau gweledol blaenllaw yng Nghymru. Mae’r rhaglen hon yn gydweithrediad rhwng Cyngor Celfyddydau Cymru ac Amgueddfa Cymru, gyda chefnogaeth @Llywodraeth Cymru fel rhan o Gynllun Gweithredu Cymru Gwrth-hiliol. 💡 Dewch i gwrdd â’r artistiaid ac archwilio eu gwaith mewn amgueddfeydd cenedlaethol ledled Cymru - linc yn y bio *** Perspective(s) is a bold arts programme reimagining history through the eyes of seven ethnically and culturally diverse artists with a connection to Wales. These artists challenge preconceptions and bring marginalised narratives to the forefront. From the Welsh Plains cloth, used to clothe victims of transatlantic slavery, to a lavish red sofa tied to Clive of India and the colonisation of India, these installations urge us to rethink the past and work toward a more inclusive future. ✨ Seven artists. Seven national museums. Seven leading Welsh visual arts organisations. This programme is a collaboration between Arts Council of Wales and Amgueddfa Cymru, supported by the @WelshGovernment as part of its Anti-racist Wales Action Plan. 💡 Meet the artists and explore their work at national museums across Wales - link in bio #PerspectivesWales #InclusiveArt #WelshMuseums #AntiRacism