This exhibition ran from the 22 February to 16 March 2020.
A text and film based exhibition with Liverpool Black Women Filmmakers, Sulaïman Majali, Fannie Sosa, Meenakshi Thirukode, Alberta Whittle and Rehana Zaman
To try and keep a little safer, our last physical exhibition closed a couple of weeks early and, due to the age of our current website, we’ve had to find a more flexible means of hosting material during COVID-19.
For the moment, we’ve been able to partially reproduce the texts that were being shown at Transmission as part of What’s Ahead, What’s Known. Due to the unforseen early closure, we’ve produced a PDF available for viewing below.
What’s Ahead, What’s Known is Transmission’s attempt to make public the research around our ongoing reimagining of what institutional decolonisation can mean. Transmission has worked with a group of five artists who have written various texts responding to the conception of the institution. Each contribution examinines how we perform different languages of critique and resistance when engaging in institutional working practice.
In addition to the text works, Transmission exhibited a programme of films by the participating artists in the basement of the gallery. There was also a text by Sulaïman Malaji publically sited on a billboard in Trongate, Glasgow.
Sulaïman Majaliapparitions at noon; 30; 04; 48; Green and pleasant land; walking home after; diaphragm; cyphers in the dream (2019), 8m0s. Fannie SosaA White Institution’s Guide for Welcoming People of Colour and Their Audiences*; Curatorial Practices; I Need This In My Life (2017), 7m23s. Meenakshi ThirukodeInstitutiting Otherwise Manifesto. Alberta Whittle, Biting the Hand That Feeds You; A study in vocal intonation (2018), 8m25s. Rehana ZamanPolicies. Rehana Zaman and The Liverpool Black Women Filmmakers How does an Invisble Boy Disappear (2018), 25m0s.
*Text retracted for online publication at the author’s request.
Liverpool Black Women Filmmakers are a collective of young filmmakers who came together to make films in October 2017. The collective is inspired by the work of anti-racist/womanist/feminist histories of Liverpool such as the Womens’ IndependenT Cinema House (Witch), Black Witch and Liverpool Black Media Group.
Sulaïman Majali is an artist and writer who interrogates the spatiotemporal logics of the colonial and subsequent incarcerations of histories and their futures through a paradigm of object;image;space. Recent exhibitions include: saracen go home (solo exhibition), Collective Gallery Edinburgh (2020); Pixelated Peripheries // مساحات مبكسلة, ACC, Haifa, Palestine (2019); something vague and irrational, Celine, Glasgow, (2019); and Mene Mene Tekel Parsin (curated by Jesse Darling), Wysing Arts Centre, Cambridge (2017).
Fannie Sosa is an afro-sudaka activist, artist, and pleasure scholar, currently doing a France-Brasil co-directed PhD called Twerk/Torque: Anti Colonial Strategies for Thriving and Surviving in Web 2.0 Times. They create
mixed media knowledge packages that span performance / video installations / circular talks / extended workshops, using pleasure and its transmission as a radical act of resistance for an embodied afro-diasporic evolutionary praxis.
Meenakshi Thirukode is a writer and researcher. Her areas of research include the role of culture and collectivity in the sub-continent within the realm of a trans-nomadic, transient network of individuals and institutions. Her recent projects include organizing the Here, There and Everywhere conference at MAC Birmingham, UK as part of the India-UK 70 years celebration, and Out of Turn, Being Together Otherwise, exploring performance art histories in collaboration with Asia Art Archive (AAA) at Serendipity Arts Festival, Goa, India. Her chapter Towards a Public of the Otherwise, was published in the Routledge Companion Series for Art in the Public Realm in 2020.
Alberta Whittle currently works between Barbados, Scotland and South Africa. The artist’s work spans film, sculpture, performance, photography, and digital collage, often incorporating multiple elements to create interactive installations. Rooted in the experiences of diaspora, her practice harnesses the values of radical self-love and collective care, using public and private spaces to confront colonial history and start important conversations about healing and reparations.
Rehana Zaman is based in London, working with moving image and performance. Her work is concerned with the effect of multiple social dynamics on how individuals and groups relate. These narrative based pieces, often deadpan and neurotic, are frequently generated through conversation and collaboration with others. A driving question within Zaman’s work is how socio-political concerns, in addition to providing content, can structure how an artwork is produced.