International Curators Forum

EXHIBITION/ Don’t miss the chance to catch Heather Agyepong’s new work, Survival ‘26, at the Ten.8 afterimage exhibition, opening Friday 1 May at The New Art Gallery Walsall. Commissioned for the exhibition, Agyepong’s work responds to Survival Magazine (1984) forty years after its original publication. The 28-page magazine was created by Merrise Crooks-Bishton with Black women living and working in Handsworth, Birmingham. In this new work, Agyepong uses the original cover figure of Survival Magazine, Angela Samuda, to reactivate the social and emotional life attached to the image. Through a series of portraits and gestures, the work asks what survival means now for Black women and Black women artists, and the cultural production they shape under precarity. Ten.8 afterimage explores the legacy and lasting impact of Ten.8 (1978–1992), a photography journal that emerged from the Midlands’ radical cultural and political landscape. Bringing photographic works from the 1980s and 1990s into dialogue with a selection of more recent works, the exhibition foregrounds questions of visibility, power, authorship, and representation. Exhibition dates: 1 May – 13 September 2026 Location: The New Art Gallery Walsall, Gallery Sq, Walsall WS2 8LG Preview: Thursday 30 April, 6–8pm. All welcome. Find out more on the exhibition via the link in bio. Commission Credits Graphic design: Abi Wright (@studio_tallawah ) Make-up artist: Charity Bedu-Addo (@its_charitybeduaddo ) Photography assistant: James Agyepong Parsons With special thanks to Ajamu X (@ajamustudios ) and Photofusion (@photofusionuk ) for their support of this commission with studio access. Image credit: Unfixed, Still Becoming, Heather Agyepong, 2026

EXHIBITION / The New Art Gallery Walsall and ICF proudly present Ten.8 afterimage, an exhibition curated by Pelumi Odubanjo, ICF’s Ten.8 Research & Curatorial Fellow.  Exhibition dates: 1 May – 13 September 2026   Location: The New Art Gallery Walsall, Gallery Sq, Walsall WS2 8LG Preview: Thursday 30 April, 6–8pm. All welcome. Ten.8 afterimage explores the legacy and enduring impact of Ten.8 (1979–1992), a photography journal that emerged from the Midlands’ radical cultural and political landscape. Ten.8 played a key role in shaping critical debates about representation and the politics of photography. The exhibition brings photographic works produced in the 1980s and 1990s into dialogue with more recent artworks, bringing into focus key considerations raised by Ten.8 across the subjects of visibility, power, and representation. It features a newly commissioned work by British Ghanaian visual artist Heather Agyepong (@heathatrottlives ), alongside works by: Ajamu X, Dawoud Bey, Zarina Bhimji, Derek Bishton, Brian Homer & John Reardon, JEB (Joan E. Biren), Vanley Burke, Chila Kumari Singh Burman, Gon Buurman, Renee Cox, Rotimi Fani-Kayode, Latoya Ruby Frazier, Joy Gregory, Sunil Gupta, George Hallett, Claudette Holmes, Roshini Kempadoo, Dave Lewis, Cynthia MaiWa Sitei, Masterji, Ming de Nasty, Ingrid Pollard, Franklyn Rodgers, Donald Rodney, Jamel Shabazz, Lorna Simpson, Jo Spence (in collaboration with Rosy Martin), James Van Der Zee, Maxine Walker, Carrie Mae Weems and Deborah Willis. Find out more via the link in our bio. Ten.8 afterimage is made possible with support from Arts Council England, Walsall Council, The Foyle Foundation, The Hollick Family Foundation, Esmée Fairbairn Foundation and Art Fund. Image: Roshini Kempadoo. Who do they want me to be today? From the series: Identity in Production (1990), silver gelatin print. Courtesy the artist.

EDITION / ICF is excited to announce a new limited edition print by Darryl Daley. Each edition is signed and numbered by the artist. You can purchase the edition now through ICF’s shop via the link in our bio. About the edition: Darryl Daley Untitled £250 Edition run: 5 Dimension: 21 x 29.7 cm (A4), with a 1cm white border Year: 2022 (printed 2025) Material: Canson Infinity Photo Lustre 310gsm paper with a matt finish Darryl Daley is an artist filmmaker whose ethnographic practice explores the intersections of Black identity and mythology within the Black Atlantic. Working across moving image and photography, he navigates personal and familial histories through themes of inheritance, spirituality, and the archive. His work is grounded in materiality, liminal space, and abstraction, creating visual languages that hold both the tangible and the immaterial. This photograph was taken in 2022 during the nine nights held for the artist’s grandmother—an Afro-Caribbean funerary tradition marking the passage between worlds. The image depicts a family member holding her baby; yet beyond its intimate documentary frame, it operates symbolically. The gesture evokes revival and circular time, drawing upon the enduring iconography of the Black mother and child. In this moment, lineage becomes visible as both inheritance and continuation. Profits from this edition are shared between ICF and the artist, with ICF’s share going towards the delivery of our programme. After undertaking a professional development residency with ICF in 2024, Darryl generously offered to support the continuation of this vital work for more creative practitioners by collaborating with us on this edition. “The support of the International Curators Forum has been instrumental in the continued development of my creative practice and career. Releasing this edition with ICF felt like an important opportunity to give back and contribute to the work they continue to do.” - Darryl Daley Visit our website or send us a message if you would like to know more about this edition. nj

Since the 1960s, Birmingham has been home to radical Black British photographers, including Vanley Burke, Claudette Holmes, and Maxine Walker 📷 It was also in Birmingham that Ten.8, an influential photography journal was born, as explored in a compelling new exhibition, ‘Ten.8 afterimage' @thenewartgallerywalsall This major show frames the dynamic and diverse ways Ten.8 explored ideas around power, representation, race and photography. What began as a grassroots magazine in Handsworth made waves around the world. It also proves the power of images - and the same debates - today. For this week's column, I reviewed 'Ten.8 afterimage' thoughtfully curated by @pelumi.odubanjo in partnership with @icf_ Full review in today's Birmingham Mail & on my website ✒️ The exhibition is FREE to visit until 13th September at The New Art Gallery Walsall 34 artists include: @mingdenasty @heathatrottlives @vanleyburke @vanleyburkecentre @sunilgupta7402 @joy_gregory_studio @chilaburman @derekbishton @brian.homer @johnreardonarchive Images: Audrey, Blossom and Afrikan Star Reggae Group, 1979 © Handsworth Self Portrait (Derek Bishton, Brian Homer & John Reardon) @handsworthselfportrait Franklyn Rodgers, Monolith 2, 2025. Courtesy of the artist, Franklyn Rodgers © Monolith 2, 2025 Installation photos courtesy of @icf_ @f8documetary

EVENT / Back in March, ICF hosted a Practitioners Network Gathering at @MetrolandCultures , bringing together practitioners for an informal evening of connection and exchanging ideas. The evening opened with a tour of the space led by Metroland's Louise and Lizzie, followed by a Q&A on their work and the thinking behind it. It was a wonderful opportunity to learn more about Metroland Cultures and the studio holders. The rest of the evening unfolded over food, drinks, and great conversations. Thank you to Metroland Cultures and to everyone who joined us! ICF's Professional Development Programme is designed for emerging and early-career creative practitioners. Sign up now for the mailing list to hear about future Network Gatherings, Peer-led Studio Sessions, and our Mentorship Programme via the link in ICF’s bio. This Network Gathering was made possible with support from @CityBridgeFoundation . Images by Antonia Adomako.

We are thrilled that the Bahamas Pavilion at the Venice Biennale is receiving its flowers! And that a work commissioned by ICF in 2010 has been included by curator Dr. Krista Thompson. The work Live Load (2010) by John Beadle (1964-2024) was commissioned by ICF for our Caribbean Pavilion at the 2010 Liverpool Biennial. Now you can see it in Venice in the Bahamas Pavilion - titled In Another Man’s Yard - an intergenerational dialogue between Beadle and Lavar Munroe, who was also featured in ICF’s 2010 Caribbean Pavilion. At the 2010 Liverpool Biennial, ICF presented Three Moments: The Caribbean Pavilion (18 September – 28 November 2010), as part of a grouping of exhibitions titled City States, which explored the cultural dynamics between cities and states. ICF’s showing featured new work by artists from the Bahamas, Barbados and Martinique. The concept for the exhibition was derived from Stuart Hall’s essay Modernity and its Others: Three “Moments” in the Post-War History of the Black Diaspora Arts, which revisits modernity through three historical art movements from the perspective of the diaspora. Image credit: Installation view, The Bahamas Pavilion: In Another Man’s Yard — John Beadle, Lavar Munroe, and the Spirit of (Posthumous) Collaboration. Works pictured by Lavar Munroe and John Beadle. Photo: Francesco Allegretto. Featuring: John Beadle Live Load, 2010 Wood, cardboard, rope Dimensions variable © Estate of John Beadle; commissioned by International Curators Forum (ICF) for Liverpool Biennial.

Donald Rodney, 'Psalms', 1997. I had to share this incredibly moving and profound work of art circling the gallery @thenewartgallerywalsall Born to Jamaican parents in Smethwick, Rodney (1961 - 1998) suffered from sickle cell anaemia, and spent much of his life navigating treatment. Towards the end of his life, he became a wheelchair user. When he was too sick to attend his solo show @southlondongallery in 1997, this chair - unoccupied and motorised - stood in for the artist. A haunting self-portrait, it continues to encompass his presence and absence. On loan from @Tate , you can see it (for free) it in an impactful new show Ten.8 afterimage which has been thoughtfully curated by @pelumi.odubanjo @thenewartgallerywalsall in collaboration with @icf__ It explores Black British photography and the ground-breaking journal Ten.8, which was born in Birmingham, 1978 by @derekbishton , Brian Homer & John Reardon. Full review to follow ✒️

Last week we caught the opening of Ten.8 afterimage at @thenewartgallerywalsall Ten.8 afterimage explores the legacy and enduring impact of Ten.8 (1979–1992), a photography journal that emerged from the Midlands’ radical cultural and political landscape. Ten.8 played a key role in shaping critical debates about representation and the politics of photography. Curated by @pelumi.odubanjo @icf__ The exhibition will present a newly commissioned work by British Ghanaian visual artist Heather Agyepong alongside works by Ajamu X, Dawoud Bey, Zarina Bhimji, JEB (Joan E. Biren), Derek Bishton, Brian Homer & John Reardon, Vanley Burke, Chila Kumari Singh Burman, Gon Buurman, Renee Cox, Rotimi Fani-Kayode, Latoya Ruby Frazier, Joy Gregory, Sunil Gupta, George Hallett, Claudette Holmes, Roshini Kempadoo, Dave Lewis, Cynthia MaiWa Sitei, Masterji, Ming de Nasty, Ingrid Pollard, Franklyn Rodgers, Donald Rodney, Jamel Shabazz, Lorna Simpson, Jo Spence (in collaboration with Rosy Martin), James Van Der Zee, Maxine Walker, Carrie Mae Weems and Deborah Willis.

“We are a GCC Active Member because our responsibility to fight climate change is shared and there is power in collective action.” - @icf__ GCC Active Member 2024. 🌍Every year, we award Active Member status to GCC Members who implement environmentally responsible best practice. Want to join @icf__ and countless others in building a better art world? Our applications for 2025 Active Membership are now open! 💚Becoming an Active Member is a proven model for success and will put you or your organisation on track to achieve your sustainability goals. And we are here to help, providing no-cost support to our members throughout the process. 🔗Curious to learn more? Head to GCC’s link in bio to read the full criteria or send us an email! Image credits: Mohammad Barrangi, The Mystical Creatures of Eden (2021), ICF’s Diaspora Pavilion 2: London (2021), presented in partnership with Block 336. Image courtesy ICF. Yewande YoYo Odunubi, What I hide by my language my body utters (2022), performance with Auclair, for the exhibition Calling the Body to attention by Yewande YoYo Odunubi, presented by ICF. Image by Rohan Ayinde. Sonia E Barrett, Here Tell, Quantum Black (2023), ICF’S Diaspora Pavilion 2: London (2023), presented in partnership with Block 336. Image courtesy ICF.

EVENT / We’re pleased to share an invitation to ICF x Metroland Practitioners Network Gathering. We hope you can join us! This informal evening will bring together emerging and early-career creative practitioners from across both networks for the first time, offering an opportunity to connect, share conversations, and spend time together over food and drinks. Event details: Wednesday 25 March 2026 6–9pm Metroland Cultures 91 Kilburn Square, London NW6 6PS Spaces are limited. Please reserve your place by booking a free ticket via the Eventbrite link in bio. Food and drinks will be provided. When reserving your ticket, please let us know about any dietary requirements or access needs, including if you would like support with travel costs within London. This gathering forms part of ICF’s Professional Development Programme (2025–2027) — a series of network gatherings and peer-led studio sessions supporting practitioners working across the arts. If you’d like to be the first to receive invitations to future events and opportunities, you can also sign up for the Professional Development mailing list via the link in bio. Image: Bill Dags private view at Metroland Studios, photo by Tom Cole.

NEWS / Are you an emerging or early career creative practitioner interested in knowing more about ICF’s Professional Development Programme? Now is the time to subscribe to our new Professional Development Newsletter. Looking to connect and exchange with a network of peers? Through this mailing list, you’ll receive invitations to ICF Network Gatherings and Peer‑led Studio Sessions, along with early updates on our 2026–7 Mentorship Programme. All opportunities have been designed to connect you with a network of creatives and support the development of your practice. ICF's Professional Development Programme is designed to resource and support the next generation of leaders in the arts by: • fostering new relationships and conversations • creating a forum for peer‑led discussions around practice, exhibitions and bodies of work • offering one‑to‑one and group sessions focused on skills and knowledge sharing Sign up for the mailing list via the link in our bio now. This programme is generously funded by City Bridge Foundation, @citybridgefoundation . Images 1 & 3: ICF Peer-led Studio Session with Annie Jael Kwan for Brent Biennial EARTH Ritual (2025), ACAVA Studios. Image by Kataryzna Perlak. Images 2 & 4: ICF Peer-led Studio Session with Bernice Mulenga for LMK WHEN U REACH (2025), Auto Italia. Images by Antonia Adomako.

Applications for the Operations Manager and Communications Manager roles are closing in just two weeks. If you’re organised, creative, and passionate about supporting practitioners, systems change, connecting networks, and showcasing impactful work, now’s the time to apply. Deadline: Monday 5 January 2026 at 11.59pm UK time More details on the roles and how to apply via the link in bio. The vital addition of these new roles is made possible with support from the @paulhamlynfoundation Art Fund. Image: ICF Peer-led studio session with Bernice Mulenga for the exhibition LMK WHEN U REACH, Auto Italia, London (2025), courtesy ICF, image by Antonia Adomako.