Bindi Vora

Nhu Xuan Hua: Of Walking on Fire 📍Autograph, London 📅 until 19 September What does it mean to reconstruct memory when its edges are fragmented – inherited or withheld? It’s been such a joy to welcome visitors to our new exhibition ‘Of Walking on Fire’ by Nhu Xuan Hua at Autograph where images become sites of return – where family histories, diasporic identities and imagined pasts converge. Working across photography, archival material and speculative reconstruction, Hua traces the quiet tensions between visibility and erasure, intimacy and distance. I’m deeply grateful for Nhu Xuan’s generosity in sharing her process and ways of thinking. Her works resist closure. It feels like a rare invitation of holding complexity without needing to resolve it and where image-making becomes a way of piecing together what cannot be fully known. A show like this takes many hands. Thank you to my esteemed colleagues at Autograph in particular @gretahewison for bringing such care and attention and to all our external suppliers and fabricators who make all of these visions possible. 🔥🐎✨🪩 @nhuxuanhua @autographabp @annelaurebuffard_alb @annelaurebuffard Installation images: Kate Elliott

📣 🗞️ As the year comes to a close, I am so delighted to share the accompanying publication to our current exhibition ‘I Still Dream of Lost Vocabularies’. 📣 🗞️ Bringing together the works and voices of the exhibiting artists, alongside newly commissioned texts by Chandra Frank, in-depth artist conversations with Arpita Akhanda, Sabrina Tirvengadum and Thato Toeba and a new essay I’ve written expanding on the multiplicity of themes in the show. Together, they reflect on questions of political dissent, erasure and the evolving role of collage within contemporary photographic practice. This publication accompanies the exhibition ‘I Still Dream of Lost Vocabularies’ at Autograph, London, Curated by Bind Vora Edited by Bindi Vora
Published by Autograph
Designed by Fraser Muggeridge Studio 📍 Available via Autograph’s website and at the gallery 💵 £12.00 Henna Nadeem • Sabrina Tirvengadum • Sunil Gupta • Qualeasha Wood • Jess Atieno • Sim Chi Yin • Sheida Soleimani • Thato Toeba • Kudzanai Violet Hwami • Arpita Akhanda • Brook Andrew • Reena Saini Kallat • Wendemegegn Belete The exhibition and publication are generously supported by @theafricanartstrust @aceagrams @autographabp @frasermuggeridgestudio @chandrafrank @livvy_murdoch @gretahewison @another_hellosabsab @sunilgupta7402 @qualeasha @jess_atieno @chiyin_sim @sheidajanam @thatotoeba @arpitaakhanda @wendimagegn_belete @brook_garru_andrew @reenakallat @mwana.wevhu @kristinhjellegjerdegallery @edelassanti @emami_art @halesgallery @vadehraartgallery @galeriececilefakhoury @zilbermangallery @victoriamirogallery @pippyhouldsworthgallery @amesyavuz @galerieobadia #IStillDreamOfLostVocabularies #Autograph #Photography #Collage

🚨✨ New Acquisition ✨🚨 I am thrilled my piece ‘In the stifled depths of darkness, I will tell you who is power’ a new work on paper has been permanently accessioned into 20 prestigious public museum collections across the UK 🥲 Birmingham Museums Trust The Box, Plymouth Bradford District Museums and Galleries Bristol Museum and Art Gallery Compton Verney Harris Museum The Hepworth Wakefield The Herbert Art Gallery & Museum Kelvingrove Art Gallery & Museum Kettle’s Yard Leeds Art Gallery The Lightbox, Woking Manchester Art Gallery Middlesbrough Museum of Modern Art National Disability Arts Collection & Archive National Museums NI (Ulster Museum) Pallant House Gallery Sheffield Museums Trust Walker Art Gallery, National Museums Liverpool Wolverhampton Art Gallery This significant acquisition marks a continuation of the groundbreaking 20/20 initiative, launched by UAL Decolonising Arts Institute in November 2021. A print portfolio showcasing works by all 20 artists on the project has been accessioned into these collections, ensuring their legacy endures. — 📷: In the stifled depths of darkness, I will tell you who is power (2024). Photo-transfer, 24-carat gold, screen print and digital print on giclée paper (unique variation). Edition of 25 🔗: @birmingham_mag @theboxplymouth @bradfordmuseums @bristolmuseums @compton_verney @harris_museum @hepworthwakefield @the_herbert_cov @kelvingroveartgalleryandmuseum @kettlesyard @leedsartgallery @mcrartgallery @mimauseful @ulstermuseum @pallanthousegallery @sheffmuseums @walkerartgallery @wolvesartandculture Developed during the 20/20 residency led by the Decolonising Arts Institute at UAL. @unioftheartslondon @freelandsfoundation @aceagrams

Going to Photo London? I’ve curated a special exhibition bringing together a selection of work by women and non-binary artists from @autographabp collection. Spanning the 1980s to the present ‘We Are the Ones We Have Been Waiting For’ traces a cross-generational lineage of artists who have used photography as a space of resistance and reimagination. Autograph has one of the UK’s most significant holdings of photography addressing race, identity, representation, human rights and social justice. Many of the works on display were commissioned through Autograph’s ongoing commitment to support artists whose practices challenge dominant histories. Featuring the work and voices of: Hélène Amouzou, Poulomi Basu, Joy Gregory, Nhu Xuan Hua, Sasha Huber, Mónica de Miranda, Zanele Muholi, Henna Nadeem, Eileen Perrier, Ingrid Pollard, Silvia Rosi, C. Rose Smith, Sabrina Tirvengadum, Lina Iris Viktor and Carrie Mae Weems.✨ 📍Find us opposite J14 Photo London, National Hall, Olympia Until Sunday 17 May @photolondonfair

So many interventions across the exhibition ‘A Kind of Paradise – Colonial Era Photography in Contemporary Art’ at the Museum Rietberg, bringing together artists who challenge the authority of the colonial image and its afterlives. Working across mediums, the artists return to archival photographs not as fixed historical documents, but as contested spaces – reshaping images once classified, erased and exoticised. The works expose how photography has continually shaped ways of seeing race, gender and belonging. What feels especially significant is seeing these interventions take place within the institution itself – where colonial archives are not simply preserved, but critically re-read, interrupted and reclaimed. Across practices from Frida Orupabo, Sasha Huber and Wendy Red Star amongst many others the exhibition reminds us of the possibilities of refusal, repair and reimagination: images once used to control or define are given back new meaning. Huge congratulations to @nanina_guyer_ for curating such a thought-provoking exhibition and for the honour to contribute to the exhibition through an accompanying essay and conversation with @sashahuber - building on dialogues first initiated @autographabp in 2022 during her solo show YOU NAME IT ✨ @museumrietberg @spectorbooks

It’s a real pleasure, and also something quite meaningful for me, to be in dialogue with my dear friend Sasha Huber. This isn’t the first time we’ve spoken about her work. We’ve been in dialogue over a number of years now, across exhibitions, texts and many ongoing conversations. Thank you @nanina_guyer_ for the invitation it’s always a delight to be invited to think with Sasha’s work, as it always asks how we look, how we remember, and how we live with histories that are not past, but persist, often quietly and often violently, into the present. 📍Museum Rietberg, Zurich 🗓️ Saturday 9 May, 3pm You can find my essay in the new publication ‘A Kind of Paradise’, published by Museum Rietberg and Spector Books 🪩✨ —— #repost @sashahuber Welcome to join our conversation on Saturday 9 May at 3pm @museumrietberg I had the joy of meeting @bindi_vora in 2022 on the occasion of my touring show ‘You Name It’ @autographabp . She curated the exhibition together with Renée Mussai and Mark Sealy and we have continued the conversation ever since. Bindi has been invited to write about my work on several occasions for the exhibition catalogue of ‘A Kind of Paradise’. Looking forward to seeing you soon! 🖤

A joy to visit Tarrah Krajnak in her Berlin studio on Sunday morning. Very special to see two new projects unfolding side by side. Tarrah’s practice engages with absence – tracing histories that are fragmented, displaced or withheld. We spoke about research as an embodied process as well as what access and ownership looks like – who has the power to hold memory, and how it is reconstructed. I can’t wait to continue plotting and planning with Tarrah ahead of our forthcoming exhibition at Autograph ‘Our Bodies Have Been Bridges’ which will also feature the voices of Laura Aguilar and Koyoltzintli #watchthisspace @tarrahkrajnak_studio @autographabp @zandergalerie Our Bodies Have Been Bridges 8 October 2026 – 13 February 2027 .uk/exhibitions/our-bodies-have-been-bridges

February part II – 🔥🐎 Somewhere between the city and the edge of the continent, things slowed down. What a joy to move through the landscape with @maartenvandenbos – to create such vivid memories, be inspired by the distance, scale and conversations.

February 🔥🐎 – just getting around to this – Cape Town in pieces. Lovely studio visits, exhibitions, my first solo show, conversations that stayed longer than expected. Thoroughly enjoyed being in spaces where the work is still becoming, not just finished and somewhere in between. 
still landing. Thank you @kimbers_c @whatiftheworld_gallery @thatotoeba @stevenson_za @msbereng @alexrichards88 @evenmynamewastaken @alka_the_artist @montaguecontemporary @kwindmullerluna

Look mum I’m in Frieze 🥲
Little pinch-me moment – featured in this month’s @friezeofficial as both artist and curator in Ravi Ghosh’s critical essay ‘On the Familial Turn in Photography’ – exploring personal archives as sites of experimentation. Placed amongst exhibitions and artists I’ve long admired, the essay reflects on the recent @autographabp exhibition ‘I Still Dream of Lost Vocabularies’ as well as my work on the 1972 expulsion of South Asians from Uganda. Thank you @ravighosh_ In print & online: /article/ravi-ghosh-258

A joy to celebrate @phoebe.boswell new commission for @artontheunderground this evening. ‘We move through scales of blue’ considers London’s shared histories with labyrinths of lost rivers and waterways paralleling the development of the Tube which diverted the flow of passengers beneath London’s surface in the same period. Thoughtfully commissioned by @sashacjmorse for Notting Hill Gate and Bethnal Green station ✨🪄

Mountain of Salt began as a response to the language and spectacle of the pandemic. Today marks six years since the first lockdown in the UK. Looking back at the political rhetoric, racial slurs and hyper vigilance that shaped so much of that time, their echoes feel uncannily present. It remains the most vulnerable who bear the cost of decisions made in the name of power. The spectacle continues. Mountain of Salt (2020-21) A series of 372 works comprised of found photograph, appropriated text and digital shapes collages; 20.32 x 20.32 cm