Dr Edwin Coomasaruさんのイラストまとめ

#InTheBlackFantastic at @haywardgallery explores African diasporic artists creating surreal sci-fi worlds— ft: Lina Iris Viktor’s ‘Eleventh’ (2018) which considers the Libyan Sibyl as abolitionist symbol; Ellen Gallagher’s ‘Watery Ecstatic’ (2021) imagines a mythic Black Atlantis

In Munich to give a lecture at @LMU_Muenchen on @array_studios and Northern Ireland’s queer and feminist art. Pictured: ‘The Druithaib’s Ball’, 2021, detail, installed at @The_Herbert, coming to @UlsterMuseum in 2023.

.@ArtistandGal at @queercircle explores queer ecologies: challenging the claim that LGBTQ+ people are “unnatural”, considering how climate change disproportionately impacts marginalised communities, refusing gender/race binaries to imagine alternative forms of collectivity.

Penny Goring at @ICALondon explores feminist violence: occult dolls, anti-capitalist posters, traumatic drawings. Intensely powerful and extremely witty. Pictured: ‘Emotive Title (Super Virulent Hyperdeath Virus Targeted at You Know Whose)’, 2017, detail / ‘Antiraptors’, 2014.

.@ExploreWellcome’s current show considers the politics of plants: their implication in imperial histories and anti-colonial struggles, as well as their connection to spiritual or shamanic practices in certain forms of Indigenous knowledge.

Keith Piper’s digital printed banners ‘Jet Black Futures’ (2021-22) at @newartgallery offer prophecies of a future in which the transatlantic triangle is inverted, borders dissolve, the earth’s axis tilts, monuments are re-purposed, the Global North is abandoned, majority rules.

.@array_studios’ #TurnerPrize installation ‘The Druthaib’s Ball’ (2021) at @The_Herbert is powerful, complex, witty. Marking partition’s centenary, the installation creates an illegal bar full of feminist-queer protest & community — an anti-sectarian, otherworldly & magic space.

Sutapa Biswas’ @balticgateshead show examines relationships between gender, ecology, colonial legacies in India & diaspora in UK. ‘Time Flies’ (2004-) references imperial paintings & taxidermy; ‘Lumen’ (2021) mixes archives with a poetic monologue on the Raj, partition, migration

Toyin Ojih Odutola’s @barbicancentre show imagines a fictional prehistoric civilisation dominated by female rulers, served by male labourers (each group forbidden from relationships with the other) — set in a surreal landscape, inspired by Nigeria’s Plateau State rock formations.

Absolutely love my print of Edward Colston’s statue tumbling into Bristol Harbour by Laura Elise Wright (originally made for @galdemzine) 💧💦 💧