Gallery Sarah


scratchOf Place and Places is Radhika Khimji’s second solo show at Gallery Sarah in Muscat. This exhibition brings together Khimji’s photographic collages and sculptural works in order to elaborate on her ongoing research into place and places.

mb6-logoThe curatorial concept of this year’s biennial starts the premise of the designated title for the Biennale: Not New Now. It aims to provide for an intellectual framework that unites multiple arenas of art and cultures by looking at it from the particular location and history of the city of Marrakech. It builds on a longstanding history of Pan Afro-Arab unity, through critically investigating socio political projects, cultural partnerships, and art movements that have led to many shared artistic tendencies.


Read more here Marrakech Biennale 6

group3Somewhere In-between: A Group Exhibition – Karavil Contemporary

Exhibition Date: 26 November 2015 (Opening Night) – 27 January 2016 Opening Night: 18:00-21:00 Location: Karavil Contemporary, 91 Mortimer Street, W1W 7SR, London Artists: Radhika Khimji, Kate Mcmillan, Suzanne Moxhay, Sam Padfield Curated by: Huma Kabakcı The Exhibition titled “Somewhere in Between” ” is a representation of four international artists living and working in London that explores how contemporary art, in all its various forms, functions via art’s material qualities and imagery. With the excessive use of social media, smart phones, and various other technologies, we are confronted by thousands and millions of images every day. These representations of objects, images and figures unintentionally stay in our minds and memories in a particular way. While Sam Padfield explores the fetishism and symbolisation of certain objects included in his body of work by re-contextualising their meaning,Radhika Khimji experiments with images but in different contexts by constructing objects consistin.

Read more here Somewhere In-between

Haiti, November 2015

KREYÒL, VODOU and the LAKOU : forms of resistance

After the Haiti Revolution, the formerly enslaved peasants had three tools for their ‘counter-plantation’ position; the Kreyòl language, the Lakou system and the belief-system and ritual practices of Vodou, a triumvirate of linguistic, territorial and cultural resistance. Laurent Dubois, writing in ‘Haiti: The Aftershocks of History’, notes that, ‘thanks to a remarkably strong and widely shared set of cultural forms – the Kreyòl language, the Vodou religion, and innovative ways of managing land ownership…- they built a society

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