DADDY Magazine

Save the date! 💌 We are excited to announce that our group exhibition THE LAND REMEMBERS will be on view from 27 May - 2 June at GlogauAir Berlin @glogauair , and will examine the ongoing realities of Waste Colonialism. The term describes the export of waste from the Global North to the Global South, where the material consequences of overconsumption are displaced rather than resolved. What is framed as recycling, donation or circularity operates as a system that sustains imbalance. Consumption remains concentrated in one place, while its environmental and social costs are lived in another. In sustainability discourse, the language of exchange often suggests reciprocity. In practice, the conditions are uneven. Materials accumulate elsewhere, entering land, water and infrastructures already under strain. The exhibition traces how waste moves, settles and persists. The works consider land and bodies as sites that register these movements over time. Memory here is not symbolic. It is material. Rather than approaching waste as an endpoint, the exhibition positions it as evidence of systems that continue to shape the present. THE LAND REMEMBERS brings together works by artists working across video, installation and performance. Participating artists: Austin Nortey @nakus_brand & Chie Marquart-Tabel @chiemarquarttabel , David Donkor @morrelyf_ , Jamal Nxedlana @jamalaun , Jere Ikongio @afrikanherbalist , Marc Khafre @marckhafre , Mayila Khodadin @mayila_khodadin , Mona Okulla Obua @mona.okulla.obua , Peter D. Abayomi @iam_peterbata @eranjijeproject & Rafael Kouto @rafaelkouto , Ruby Okoro @rubyokoro , and Studio NEiDA @studioneida . Curatorial team: Kemi Fatoba @champagnekemi , Elise Chastel @elisechastel , Karini Viranna @karinicles , Janice Faith, @words.in.my.veins , Jennifer Anosike @soma_sike & Martina Thomas @marttynee . Advisory board: Akinbode Akinbiyi @akinbodeakinbiyi , Beatrace Oola @beatraceoola @fashionafricanow , Constantin Hartenstein @constantinhartenstein , Eric Otieno @africionado , Mahret Kupka @modekoerper , Yvette Mutumba @contemporaryand . [caption continues in the comments] #TheLandRemembers #GroupExhibiton #DADDYMagazine

The latest feature film by Moroccan director Laïla Marrakchi, “La Más Dulce” (Strawberries), captures two young women leaving their native Morocco to work a season picking strawberries in southern Spain, until abuse and harassment shatter their hopes. Supported by a Spanish lawyer, they must decide whether to speak out against a powerful system, risking everything to seek justice. The film has been selected for the next edition of the Cannes Film Festival @festivaldecannes , which will be held from 12 to 23 May 2026 in France. The film will compete in the Un Certain Regard section, according to the Moroccan Film Centre (CCM). Laïla Marrakchi has also directed several short films, including “L’Horizon Perdu” (2000), “200 Dirhams” (2002) and “Momo Mambo” (2003). The film is produced by Lumen (France) and co-produced by Fasten Films @fastenfilms (Spain), Mont Fleuri (Morocco) and Mirage Films (Belgium). #DADDYMagazine #DADDYRecommends Credits “La Más Dulce” film 1: Tristan Galand @tristangaland 2: BTS: MarionBernard 3: Manu Trillo @manu.trillo #DADDYMagazine #DADDYRecommends #LaMásDulce

Writer, artist, and curator hn. lyonga @hn_lyonga presents “There is a table in this house” as part of the Earth Ceremony, an annual ritual connected to Earth Nest at Berlin Global Village @berlinglobalvillage , the first memorial site in Berlin dedicated to centering histories of decolonial resistance. The performance unfolds as a choreographic reading and collective intervention, exploring the ethics and politics of coming together, especially in times of rupture and uncertainty. Rooted in a practice of “neighbouring,” it weaves embodied presence, participatory installation, and communal dialogue into a space of radical care, shared witnessing, and political responsibility. At its centre: a table, a place of sharing and encounter. hn. lyonga’s @hn_lyonga work is the work of gathering: words, neighbours, silences, inheritances. He writes not only for the page but for the ear, the circle, the community that refuses erasure. He turns his face toward the migrations and the lives of the colonised, the marginalised, the ones who endure. He is a member of BARAZANI.berlin @barazani.berlin and the Field Narratives collective. 🗓 May 28, 2026 | 7:00 PM (Doors 6:00 PM) 📍 Berlin Global Village, Am Sudhaus 2, 12053 Berlin 🔗 Registration: Link in @berlinglobalvillage ’s bio Credits: Slide 1: Safiya Yon Slide 2 &3: Aja Dotson #DADDYRecommends #EarthCeremony #BerlinGlobalVillage

The book “New Genesis” by Abdulhamid Kircher @kircherabdul examines how American systems of care repeatedly fail the women and children most dependent on them. Made between 2022 and 2025, the project extends Abdulhamid Kircher’s exploration of lived trauma impacted by the intersecting violences of capitalism and domestic insecurity. At the center of the book is Sierra Kiss and her young family. A friendship developed after Kircher made portraits of Kiss in her home in Los Angeles. Over the course of the four years they have known each other, Kircher has documented her experience of  homelessness, addiction, repeated pregnancies and domestic abuse. The work reveals a broken system of support, from shelters to churches and social services, eroded by chronic underfunding and government policy. Abdulhamid Kircher @kircherabdul is an artist from Queens, New York. His work is a living archive of place and people, as it is also a dedication to the language of photography, the mechanics and aesthetic possibilities of the form. His debut monograph “Rotting from Within” published by Loose Joints @jointsloose was released in 2024 on the occasion of his first solo exhibition at carlier | gebauer. “New Genesis” is his second monograph and was also published by Loose Joints in the spring of 2026. Credit: © Abdulhamid Kircher 2026 courtesy Loose Joints #DADDYMagazine #DADDYRecommends #AbdulhamidKircher #NewGenesis

“Swift River” by Essie Chambers @essiejchambers captures the story of Diamond Newberry, the only Black girl in Swift River, navigating a fatherless summer of secrets, self-discovery, and survival. When a mysterious letter unlocks two generations of African American family history, Diamond finds herself on a journey through prejudice, love, and devotion that stretches across the 20th century. A stunning debut about identity, belonging, and the power of knowing where you come from. Essie Chambers @essiejchambers is an award-winning author and producer. Her bestselling debut novel, “Swift River” won the 2024 Barnes & Noble Discover Prize and was named a best book of the year by The Washington Post, NPR, The Boston Globe, Elle, and others. Essie started her career as a television executive at Nickelodeon/The N and BET before becoming an independent producer and filmmaker. She went on to produce the critically acclaimed PBS documentary, The New Public, and the Sundance Award–winning, Oscar-shortlisted documentary Descendant, which was released by the Obamas’ Higher Ground production company and Netflix in 2022. Credit Essie photo: Christine Jean Chambers #DADDYMagazine #DADDYRecommends #EssieChambers #SwiftRiver

The exhibition “Black Bricolage” by Johny Pitts @johnymodern at Maison Européenne de la Photographie in Paris @mep.paris until 24 May brings together photographs, notebooks and documents by the artist that bear witness to Black experiences in Europe and beyond, between 2004 and 2024. Johny Pitts illuminates Afro-European and Afro-diaspora realities that are often made invisible or poorly represented. His approach refuses both nostalgia and stereotype, but rather favours the ordinary: informal conversations, cafés, community centres, daily commutes, living spaces. Johny Pitts @johnymodern is a writer, filmmaker, photographer and journalist who has developed a major body of work around Afropean identity, a concept describing the experience of being Black and European. He is a recipient of several distinctions, including the Decibel Penguin Prize and the ENAR (European Network Against Racism) Award @enar.europe , and his work is part of the permanent collection of the Victoria and Albert Museum @vamuseum . 📷 credit: © Johny Pitts #DADDYMagazine #DADDYRecommends #BlackBricolage #JohnyPitts #MEPParis

Norwegian-Congolese artist Sandra Mujinga @iamsandramujinga presents “Skin to Skin” at Belvedere 21, Austria @belvedere21wien . On view until 31 May 2026, marking her first museum presentation in Austria. It features an expansive installation that comprises sculptures, sounds and reflections. Here, repetition becomes an artistic strategy for plumbing the depths of (in)visibility, community and transformation. Sandra Mujinga @iamsandramujinga is a multidisciplinary artist and musician who works between Berlin and Oslo. Working across installation, sculpture, performance, text and digital media, Sandra Mujinga explores shifting economies of visibility and opacity, self-representation and the politics of surveillance. Her work is deeply invested in traces and concealment, what lingers, haunts from history or slips away, and in how bodies are remembered. Credits: 1: Sandra Mujinga photographed by 📸 Chai Saeidi 2&3: Installation view “Sandra Mujinga. Skin to Skin”, Belvedere 21 #DADDYMagazine #DADDYRecommends #SkinToSkin #SandraMujinga

The African American Master Artists-in-Residence Program (AAMARP) presents “Say It Loud”, on view until 2 August 2026 at the Institute of Contemporary Art/Boston @icaboston . The exhibition presents a dynamic selection of artworks by thirty-nine artists affiliated with AAMARP. From its founding in 1977 by the influential artist, educator, and activist Dana C. Chandler, Jr., the African American Master Artists-in-Residence Program (AAMARP) at Northeastern University has been one of the few longstanding residency programmes for Black artists in the United States. This exhibition presents five decades of work, tracing the evolution of AAMARP through the artists’ voices, their engagement with global artistic and political movements, and their deep-rooted sense of community. Credits: 1: Richard Yarde, The Parlor, 1980. Photo: Laura Shea. © Estate of Richard Yarde. 2: Dana C. Chandler Jr. painting in his studio at AAMARP. Photo by Jerry Schrader. 3: Installation view, Say It Loud: AAMARP, 1977 to Now, the Institute of Contemporary Art/Boston, 2026. Photo by @DarioLasagni . #DADDYRecommends #DADDYMagazine #AAMARP

Derrick Adams’ exhibition “View Master” at the Institute of Contemporary Art/Boston @icaboston is on view until 7 September 2026. It is the first mid-career survey of the New York–based artist Derrick Adams @derrickadamsny , spanning over twenty years of his work. Adams celebrates contemporary Black life and culture through a distinct representational language. He often combines planar shapes and patterns to create multifaceted figures that center leisure, freedom, and the pursuit of happiness. Adams’ painting, sculpture, collage, performance, video, and public projects celebrate the beauty of everyday life, transforming these moments into an iconography that resonates with the richness and complexity of Black culture in our time. Credits: 1: Derrick Adams, Crossroads, 2012. Courtesy the artist and Gagosian 2: Derrick Adams, Style Variation Grid 3, 2018. Courtesy the artist and Gagosian 3: Derrick Adams, Figure in the Urban Landscape 17, 2018. Courtesy Marquez Family Collection, Miami #DADDYRecommends #DADDYMagazine #DerrickAdams #ViewMaster

The Barbican @barbicancentre presents the first solo show in the UK and the largest-ever exhibition in Europe of Beatriz González, Colombian artist, curator, art historian and educator (1932–2026). On view until 10 May 2026. She persistently engaged with how images permeate the world and radically reimagined what art can tell us about power, grief and memory. Her striking body of work speaks to experiences of conflict, communion and everything in between. This retrospective, while situating González’s practice within the specific history of Colombia and its wider Latin American context, reveals how profoundly her practice resonates with global concerns. Featuring over 150 artworks spanning six decades of González’s practice, from 1960 to the present, the works on display span paintings, sculptural objects and interventions on furniture as well as monumental printed curtains, painted backdrops and immersive wallpaper installations. Credits: 1&3: Installation view. Barbican Art Gallery, David Parry © Beatriz González 2: © Beatriz González. Courtesy the artist. Photo: Laura Jiméne #DADDYRecommends #DADDYMagazine #BeatrizGonzalez #BarbicanCentre

“Seydou Keïta: A Tactile Lens” at Brooklyn Museum @brooklynmuseum , New York, on view until 17 May 2026 is the most expansive North American exhibition of the legendary Malian photographer’s work to date. Nearly 275 works include iconic prints, never-before-seen portraits, textiles, and Keïta’s personal artifacts, all brought to life with unique insights from his family. Organized by the Brooklyn Museum @brooklynmuseum , the exhibition brings us to Bamako from the late 1940s to early 1960s, an era of profound political and social transformation. Collaborating closely with his sitters, Keïta recorded Mali’s evolution through their choices of backdrops, accessories, and apparel, from traditional finery to European suits. These bold yet sensitive photographs began to circulate in West Africa nearly 80 years ago. In the early 1990s, they reached Western viewers, rocking the art world and cementing Keïta as the premier studio photographer of 20th-century Africa-a peer of August Sander, Irving Penn, and Richard Avedon. Credits: 1&2: Seydou Keita. © SKPEAC/Seydou Keita, courtesy The Jean Pigozzi Collection of African Art and Danziger Gallery, NY 3: Installation view, Seydou Keïta: A Tactile Lens. Brooklyn Museum. Photo: Timothy Doyon #DADDYRecommends #DADDYMagazine #ATactileLens #SeydouKeïta

Yin Xiuzhen’s Heart to Heart at Hayward Gallery, @hayward.gallery , Southbank Centre, until 3 May 2026, draws on over 30 years of creation. The exhibition brings together a selection of the artist’s seminal projects alongside a number of new commissions and is the first major UK survey of her work. Yin Xiuzhen is renowned for her use of second-hand clothing, concrete, food and household ephemera in her immersive installations and sculptures. She creates multimedia artworks that negotiate the spaces between memories, individuals and the globalised societies in which we live today. Credit: 2-4: Installation view of Yin Xiuzhen: Heart to Heart. Photo: Mark Blower. #DADDYRecommends #DADDYMagazine #Yin Xiuzhen #HearttoHeart