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Curator, Writer

Rahila Haque

About

Rahila Haque is a curator, researcher and writer based between London and Amsterdam. Her research is concerned with centring black, postcolonial and feminist knowledges with diasporic artistic practices in Britain. She is currently a PhD candidate at Chelsea College, University of the Arts London. She previously held positions as Residencies Curator at Camden Art Centre, Assistant Curator at the Hayward Gallery and was Assistant Curator of the 58th Venice Biennale exhibition May You Live in Interesting Times. She was the recipient of a Jonathan Ruffer Curatorial Grant in 2017 and a Gasworks/Triangle Network Fellowship in 2018. She holds an MFA in Curating from Goldsmiths, University of London.

Her exhibition work includes projects with artists including Jeremy Deller, Carsten Höller, Lee Bul, Ernesto Neto and Aura Satz and exhibitions such as Jananne Al-Ani: Excavations (2014), What’s love got to do with it (2014), and Dineo Seshee Bopape: slow-co-ruption (2015). In 2017, she organised Hear Her Singing by Charwei Tsai, a series of workshops and a film installation at the Southbank Centre, London. She is currently working on a collaborative archival project around Silver Moon, the legendary women’s bookshop founded in London in 1984.

Her Archipelagos in Reverse project draws on an intergenerational study of artists and writers, entering black and postcolonial feminist knowledges as frameworks for diasporic artistic practices in Britain. It considers how these knowledges were animated in Black and Asian women’s artistic production and discourse in the 1980s, and their connections to feminist modes of practice in the work of contemporary diaspora artists. Her research looks at the physical and conceptual spaces created by artists in the face of institutional exclusion and misrecognition and as acts of joy, solidarity and self-generated discourse. She convenes with the theoretical work of Tina Campt and Trinh T. Minh-ha, among others, as guides for engaging embodied, speculative and relational modes of critical and visual enquiry.

 

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