EMPIRE LINES

EMPIRE LINES
EMPIRE LINES

EMPIRE LINES uncovers the unexpected, often two-way, flows of empires through art. Interdisciplinary thinkers use individual artworks as artefacts of imperial exchange, revealing the how and why of the monolith ‘empire’. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast Read articles, and join talks, tours, events, and exhibitions: jelsofron.com/empire-lines Support EMPIRE LINES on Patreon: patreon.com/empirelines TRANSCRIPTS: drive.google.com/drive/folders/1-pwfn4U_P1o2oT2Zfb7CoCWadZ3-pO4C?usp=sharing MUSIC: Combinación // The Dubbstyle PRODUCER: Jelena Sofronijevic

  1. Sweet & Sour, Hrair Sarkissian (2021-2022) (EMPIRE LINES x Wolverhampton Art Gallery, Lisson Gallery)

    JUN 12

    Sweet & Sour, Hrair Sarkissian (2021-2022) (EMPIRE LINES x Wolverhampton Art Gallery, Lisson Gallery)

    Conceptual photographer Hrair Sarkissian moves between Syria, Armenia, and Turkey, capturing present absences in personal and political histories in the 20th and 21st centuries. Hrair Sarkissian uses photography, installation, moving image, and sound to reflect on social issues, often silenced or obscured from view. Born and raised in Syria, the grandson of refugees of the Armenian Genocide in 1915, much of his work explores the lived experiences of intergenerational trauma, with respect to individuals and diverse diasporic communities. Sweet & Sour (2021-2022), a three-channel video installation currently on view at Wolverhampton Art Gallery, reflects on memory and storytelling. Hrair discusses the significance of the Maruta Mountain in Armenian culture, and shares images of his ancestral home of Khantsorig, a village in the Sassoun region of present-day Turkey. We also explore the role of emotion and subjectivity in his practice, contrasting his approach to series like Last Seen (2018-2021) with the more detached, extractive approaches typical of photojournalism. Hrair explains his early training at his father’s photographic studio in Damascus, and the role of Armenians in the development of studio photography in Syria, Lebanon, and Palestine following the collapse of the Ottoman Empire. With Sea of Trees (2025), we move between Hrair’s exhibition environments to the volcanic Aokigahara forest on Mount Fuji, discussing how different cultural narratives and contexts have inspired his artistic practice. We look towards new works in production for an international art festival in Japan, and suggest of the long-term creative relationships within his own career that also connect times, places, and migrations - returning to Wolverhampton with Deathscape (2021), an audio installation for British Art Show 9 in 2021. Hrair Sarkissian: Other Pains is at Wolverhampton Art Gallery until 22 June 2025. You can hear the artist in conversation at the gallery on Saturday 14 June. Finding My Blue Sky, curated by Dr. Omar Kholeif, is at Lisson Gallery in London until 26 July 2025. The Aichi Triennale 2025: A Time Between Ashes and Roses, curated by Hoor Al-Qasimi, opens in Japan on 13 September 2025. For more about Mahmoud Darwish, read about Miloš Trakilović’s installation 564 Tracks (Not a Love Song Is Usually a Love Song) (2024) at KW Institute in Berlin, in the New Internationalist: newint.org/art/2025/spotlight-milos-trakilovic For more about diasporic communities in Lebanon and Syria, listen to Sara Shamma’s live episode on World Civil War Portraits (2015) with Dulwich Picture Gallery in London, and the National Museum of Damascus, part of ⁠PEACE FREQUENCIES 2023⁠: pod.link/1533637675/episode/6c9af892a1a8e1450c2cc4b73f226835 For more about studio photography in Palestine through the Ottoman Empire and British Mandate, hear curator Rachel Dedman’s EMPIRE LINES episode about an UNRWA Dress from Ramallah, Palestine (1930s)⁠: pod.link/1533637675/episode/92c34d07be80fe43a8e328705a7d80cb And read into the exhibition, Material Power: Palestinian Embroidery, at Kettle’s Yard in Cambridge and the Whitworth in Manchester, in gowithYamo: gowithyamo.com/blog/textiles-in-cambridge-palestinian-embroidery-at-kettles-yard PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠⁠⁠instagram.com/empirelinespodcast⁠⁠⁠ Support EMPIRE LINES on Patreon: ⁠⁠⁠patreon.com/empirelines

    16 min
  2. Hero’s Head, Richard Hunt (1956) (EMPIRE LINES x White Cube, Centre Pompidou)

    MAY 15

    Hero’s Head, Richard Hunt (1956) (EMPIRE LINES x White Cube, Centre Pompidou)

    Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt’s 1956 sculpture, Hero’s Head. Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city’s culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed’ his use of metal, as the medium of his time and place. Hero’s Head (1956), one of Richard’s earliest mature works, was the first among many artistic responses dedicated to the memory and legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till’s mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist’s use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later practice. With the first major European exhibition, and posthumous retrospective, of Richard’s work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist’s prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of ‘African art’, referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard’s work, and engagement with the natural environment, connecting the ‘red soil’ of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site’, highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared skull-like forms are found in the works of French painters, Wangechi Mutu’s Afrofuturist bronzes, and Richard’s contemporaries practicing in France, Spain, Italy, and England. Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard’s ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens. Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025. Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025. Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997). Hear more about Wangechi Mutu’s This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024). For more about Dogonese and ‘African masks’ from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠. For more about ‘Negro Arts’ exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London. For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee’s Bend (20th Century-Now).

    18 min
  3. Our Island Stories: Ten Walks Through Rural Britain and Its Hidden History of Empire, Corinne Fowler, with Ingrid Pollard (2024) (EMPIRE LINES Live at Invasion Ecology)

    APR 17

    Our Island Stories: Ten Walks Through Rural Britain and Its Hidden History of Empire, Corinne Fowler, with Ingrid Pollard (2024) (EMPIRE LINES Live at Invasion Ecology)

    In this special episode, historian Corinne Fowler joins EMPIRE LINES live with visual artist and researcher Ingrid Pollard, linking rural British landscapes, buildings, and houses, to global histories of transatlantic slavery, through their book, Our Island Stories: Country Walks Through Colonial Britain (2024). Though integral to national identity in Britain, the countryside is rarely seen as having anything to do with British colonialism. In Our Island Stories, historian Corinne Fowler brings together rural life and colonial rule, through ten country walks with various companions. These journeys combine local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton. They also highlight how the British Empire transformed rural lives, whether in Welsh sheep farms or Cornish copper mines, presenting both opportunity and exploitation. Corinne explains how the booming profits of overseas colonial activities directly contributed to enclosure, land clearances, and dispossession in England. They highlight how these histories, usually considered separately, persist in the lives of their descendants and our landscapes today. We explore the two-way flows of colonial plant cultures, as evident in WIlliam Wordsworth’s 19th century poems about daffodils, as contemporary works of literature by Chinua Achebe and Grace Nichols. Contemporary artist - and walking companion - Ingrid Pollard shares their research into ferns, seeds, and magic, across Northumberland, the Lake District, and South West England, Ingrid details histories of lacemaking in Devon and Cornwall, and we explore representations of ‘African’ and Caribbean flowers in art. Bringing together Ingrid and Corinne’s works, installed at the exhibition, Invasion Ecology, at Southcombe Barn on Dartmoor, we also explore their previous collaborations including the project, Colonial Countryside: National Trust Houses Reimagined. Plus, Corinne questions ‘cancel culture’ in the British media and academia, drawing on their experiences as Professor of Colonialism and Heritage in Museum Studies at the University of Leicester. Our Island Stories: Country Walks Through Colonial Britain by Corinne Fowler is published by Penguin, and available in all good bookshops and online. You can pre-order the paperback, released on 1 May 2025. This episode was recorded live as part of the programme for Invasion Ecology, co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, ran from 1 June to 10 August 2024. The wider programme featured anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. For more information, follow ⁠⁠⁠⁠⁠Radical Ecology⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠Southcombe Barn⁠⁠⁠⁠⁠ on social media, and visit: ⁠⁠⁠⁠radicalecology.earth/events/invasion-ecology-exhibition⁠⁠⁠⁠. Watch the full video conversation online, via Radical Ecology: https://vimeo.com/995929731 And find all the links in the first Instagram post: https://www.instagram.com/p/C8cyHX2I28 You can also listen to the ⁠⁠⁠⁠⁠EMPIRE LINES x Invasion Ecology Spotify playlist⁠⁠⁠⁠⁠, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

    1h 3m
  4. Furnace Fruit, Karanjit Panesar (2024) (EMPIRE LINES x Leeds Art Gallery, British Library)

    JAN 23

    Furnace Fruit, Karanjit Panesar (2024) (EMPIRE LINES x Leeds Art Gallery, British Library)

    Contemporary artist Karanjit Panesar recasts stories of migrant labourers from Punjab working in British industrial foundries, exploring constructs of memory, and national myths in metal, through his film installation, Furnace Fruit (2024). Karanjit Panesar’s practice considers the entanglements of labour, migration, memory, and empire. Furnace Fruit, their new exhibition at Leeds Art Gallery, centres on the stories of the many Punjabi immigrants who, with the end of British colonial rule in South Asia, came to the UK and worked in metal foundries in the 1950s and 1960s - including members of the artist’s own family. Audio and sound underlie his transdisciplinary practice. Drawing on the South Asian oral history collections at Bradford Industrial Museum and the British Library in London, Karanjit’s exhibition is also an intergenerational conversation, and ongoing process of translation: ‘He’s speaking in our language, I’m listening in mine,’ says one character in the film at the exhibition’s core. Karanjit explains how he ‘embeds’ the archive ‘within the language of the work’, and wider practice of storytelling. We journey through the steel and automotive foundries across Yorkshire and northern England, as well as Smethwick, Birmingham, in Midlands, central to his research and work. Karanjit explains how railway tracks, and statues of Queen Victoria, were exported from ports like Ormsgill, Barrow-in-Furness around the British Empire, to India, Pakistan, and Australia. We find these parallels in the foundry - a duality, not binary, also reflected in the exhibition’s titular two-channel film - as a place of both imperial and industrial expansion, and artistic production. Karanjit reflects on his own position, navigating the Morris Singer (J.W. Singer & Sons) and John Galizia and Son’s archives at the Henry Moore Institute. He shares his research into sculptors like Bernard Meadows, whose bronze castings of apples, pears, peaches, mangoes informed the artist’s work Double Fruit (2024), a pomegranate figured in both plaster, and black cast iron, as representations of nationhood and Britishness. From facsimiles by the Boyle Family, artistic explorations of truths and myths, Karanjit explains other processes of translation. He navigates the wooden architectural structure central to this installation, drawing on his work as a technician. We explore technology in his practice - including photogravure prints, or electro-plated sculptural photographs - and ongoing research in deindustrialisation endured by working class communities across the country. Karanjit Panesar: Furnace Fruit runs at Leeds Art Gallery until 15 June 2025, the second Collections in Dialogue co-commission between Leeds Art Gallery and the British Library in London. Find more from Bradford Industrial Museum through Bradford 2025, UK City of Culture. For more about artifice and film, hear Pamela Phatsimo Sunstrum at their exhibition, It Will End in Tears (2024), at the Barbican in London: pod.link/1533637675/episode/6e9a8b8725e8864bc4950f259ea89310 And read my article, in gowithYamo: gowithyamo.com/blog/pamela-phatsimo-sunstrum-barbican For more about Ibrahim Mahama’s 2024 exhibition at Fruitmarket in Edinburgh, drawing from archives to reconstruct railway lines, and mineral extraction in West Africa, hear the artist’s episode about Sekondi Locomotive Workshop (2024): pod.link/1533637675/episode/ed0be49d016ce665c1663202091ce224 For more about Pakistani and South Asian diasporic communities in Birmingham, and domestic labour in the Midlands and ‘Black Country’, listen to artist Osman Yousefzada on Queer Feet (2023) at Charleston in Firle: pod.link/1533637675/episode/6ca95c67d24936cff9d2d478f4450cf2 And read my article, in gowithYamo: gowithyamo.com/blog/osman-yousefzada-at-charleston-in-firle PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠⁠instagram.com/empirelinespodcast⁠⁠ Support EMPIRE LINES on Patreon: ⁠⁠patreon.com/empirelines

    16 min
  5. Terratypes, Tanoa Sasraku (2022-Now) (EMPIRE LINES x RAMM, ICA)

    JAN 9

    Terratypes, Tanoa Sasraku (2022-Now) (EMPIRE LINES x RAMM, ICA)

    Contemporary artist Tanoa Sasraku unearths complex relations with British landscapes and natural resources, connecting environments from the north coast of Scotland to South West England, and flagging colonial extractivism in Ghana, through their series of Terratypes (2022-Now). Tanoa Sasraku’s Terratypes (2022-Now) capture specific sites across Britain. Constructed from layers of newsprint paper, and foraged natural pigments, these ‘ultimate drawings’ are hybrids of painting, collage, sculpture, architecture, and textiles that embody plural experiences of identity and place. With their inclusion in a group exhibition at Exeter, Tanoa delves into their creative journey from Plymouth to the Isle of Skye, and their particular relationship with their father’s practice in fashion design. We explore patterns, from tartan to Asafo flags, assertions of Fante identity and independence in British colonial Ghana and Africa. Tanoa’s expanded (and expansive) practice is rooted in the physicality of natural water and landscapes. We explore their interest in colour, the likes of Joseph Albers and Richard Smith in Abstract Expressionism and action painting. Tanoa details how their drawings are ‘direct photographs’ of the environment or data stores, objects grounded in the present, but appearing as 'future-past hybrids'. Drawing on sci-fi films like Interstellar, we explore their engagement with deep time and space, alongside personal narratives of romantic love and loss. Tanoa’s work challenges conventional institutions, making radical interventions in how art is collected, displayed, and conserved. They discuss the generalisation of ‘Blackness’ and anti-Black racism, experiences of working with curators in different contexts, and education at Goldsmiths and Royal Academy Schools in London. From their studio in Glasgow, we return to England’s capital as the location of their forthcoming solo exhibition, connecting both imperial cities, and the rise and fall of extractive industries like oil in Scotland. Dartmoor: A Radical Landscape runs at the Royal Albert Memorial Museum (RAMM) in Exeter until 23 February 2025. Tituba, Who Protects Us? runs at the Palais de Tokyo in Paris until 1 May 2025. A major solo exhibition of Tanoa’s work opens at the Institute of Contemporary Arts (ICA) in London in October 2025. For more about Invasion Ecology (2023), co-curated by Jelena Sofronijevic for Radical Ecology, and Southcombe Barn on Dartmoor, listen to the episodes with the exhibition’s artists: - Ingrid Pollard, on expanded photography, Blacknesses, and British identities, in Carbon Slowly Turning (2022) at the Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 - Hanna Tuulikki, on selkies, Scottish folklore, and performance, in Avi Alarm (2023): pod.link/1533637675/episode/21264f8343e5da35bca2b24e672a2018 You can also read about Hanna’s installation, ⁠under forest cover (2021)⁠, at City Art Centre in Edinburgh: gowithyamo.com/blog/edinburghs-environmental-exhibitions-the-local And hear about Fern Leigh Albert’s activist photographic practice, now on display at RAMM. - Ashish Ghadiali - whose film Can you tell the time of a running river? (2024), from the series Cinematics of Gaia and Magic (2023-Now), also features at RAMM - in the episode from Against Apartheid (2023) at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about Ibrahim Mahama’s 2024 exhibition at Fruitmarket in Edinburgh, drawing from archives, and mineral extraction in West Africa, hear the artist’s episode about Sekondi Locomotive Workshop (2024): pod.link/1533637675/episode/ed0be49d016ce665c1663202091ce224 PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

    22 min
  6. The Imaginary Institution of India: Art 1975-1998 (EMPIRE LINES x Barbican, with Shanay Jhaveri, Anita Dube, and Nalini Malani) (2024)

    12/19/2024

    The Imaginary Institution of India: Art 1975-1998 (EMPIRE LINES x Barbican, with Shanay Jhaveri, Anita Dube, and Nalini Malani) (2024)

    Contemporary artists Nalini Malani and Anita Dube, and curator Shanay Jhaveri, journey through two decades of cultural and political change in South Asia, from Indira Gandhi’s declaration of the State of Emergency in 1975, to the Pokhran Nuclear Tests in 1998, in the 2024 exhibition, The Imaginary Institution of India. Titled after Sudipta Kaviraj’s 1991 text, this landmark group exhibition in London explores the ways artists articulated this period of transitions. Beyond the focus on the moment of independence and Partition of British India in 1947 - often reflecting Western/European-centric interests in South Asia - the works consider the challenges of instituting democracy and modernity in a late 20th century and post-colonial society. Its curator, Shanay Jhaveri, talks about the diversity and plurality of works on display, and how working and travelling across borders has shaped his own practice. Nalini Malani unpacks her video installation, Remembering Toba Tek Singh (1998), addressing nuclear competition with Pakistan and China, and the deteriorating environment globally, to Gaza and Palestine today. We discuss violence and forced displacement, drawing on the literature of Saadat Hasan Manto, and their own lived experiences, born in Karachi, and practicing in Bombay (now Mumbai). Nalini details encounters with Marxist and subaltern thinking as a student at the Sorbonne in Paris, meeting Noam Chomsky, Alain Resnias, and Chris Marker, and, before then, in India’s many film and cine-clubs, showing communist, Soviet Russian, and Central, Eastern, and Southeastern European (CESEE) cinema. Nalini shares their collaborations with Vivan Sundaram, and connects their theatrical animations with ‘traditional’ or ‘folk’ kalighat reverse glass paintings, as modernist forms. First training as an art historian and critic, Anita Dube was a leading member of the Radical Group in Baroda (now Vadodara). She continues to organise globally and locally, from residencies with the Triangle Network and KHOJ Studios, to the Kochi-Muziris Biennale, of which she was the first woman to curate. Anita details the work of contemporary women like Gogi Saroj Pal and Sheela Gowda, plus the public reaction in New Delhi to her ambiguous, bodily installations, exploring religion, spirituality, and craft in popular culture. We discuss access, gendered architecture, and the brutalist context of this display. ⁠The Imaginary Institution of India: Art 1975–1998⁠ runs at the Barbican in London until 5 January 2025. ⁠Rewriting the Rules: Pioneering Indian Cinema after 1970⁠, and the ⁠Darbar Festival⁠, ran during the exhibition in 2024. The exhibition is organised in collaboration with the Kiran Nadar Museum of Art in New Delhi. Nalani Malani: In Search of Vanished Blood runs at Tate Modern in London through 2025. Hear more from Nalini Malani in the EMPIRE LINES episode from My Reality is Different (2022) at the Holburne Museum in Bath, and with curator Priyesh Mistry, on The Experiment with the Bird in the Air Pump, Joseph Wright of Derby (1768) and Nalini Malani (2022) at the National Gallery in London. You can also read my article in gowithYamo. For more about artists Bhupen Khakar, Nilima Sheikh, Gulammohammed Sheikh, Arpita Singh, and Imran Qureshi, listen to curator Hammad Nasar on Did You Come Here To Find History?, Nusra Latif Qureshi (2009), and read into the exhibition, Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now, at MK Gallery in Milton Keynes and The Box in Plymouth, in my article in gowithYamo. About Imran Qureshi, hear artist Maha Ahmed on Where Worlds Meet (2023) at Leighton House in London, and read about the exhibition in my article in recessed.space. About Partition, hear Sonal Khullar on Bani Abidi’s Memorial to Lost Words at the Lahore Museum (2016/2018). PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

    40 min
  7. World Civil War Portraits, Sara Shamma (2015) (EMPIRE LINES Live at PEACE FREQUENCIES, Dulwich Picture Gallery, National Museum of Damascus)

    12/12/2024

    World Civil War Portraits, Sara Shamma (2015) (EMPIRE LINES Live at PEACE FREQUENCIES, Dulwich Picture Gallery, National Museum of Damascus)

    In this special episode, contemporary artist Sara Shamma paints experiences of conflict, modern slavery, and hopes for postwar reconstruction, travelling between Syria, Lebanon, and London, in their series, World Civil War Portraits (2015). *Content Warning* Syria has a ‘young’ or ‘short’ art history, in Western/European terms. The country’s first galleries and art schools appeared in the 1960s, offering little contemporary arts education or practice. Working within - and rebelling against - these institutions, Damascus-born artist Sara Shamma taught themselves to paint ‘as an Old/Dutch Master’, referencing the likes of Rembrandt and Rubens in their large-scale, expressive, portraits. In their 2023 exhibition, Bold Spirits, Sara’s figurative paintings were displayed in conversation with these figures, at the Dulwich Picture Gallery in London. And now, 25 years after graduating, the artist returns to the National Museum of Damascus with a survey spanning their personal and artistic journey through Lebanon and the UK in the twelve years since the start of the civil war. ‘I decided to keep one or two paintings from each project, to exhibit them all in Syria when the time was right,’ says Sara. ‘Now, it’s time for them to come home.’ In this conversation from 2023, when Sara was still living in London, the artist describes their decades of migrations between Dulwich and Damascus. Sara first left Syria for work, in 2000, with exhibitions in Britain as part of the the BP Portrait Prize, and a British Council partnership with Coventry, a city admired as a model for postwar reconstruction. In 2016, Sara relocated to London on an Exceptional Talent Visa but, during this period, continued to travel to their homeland frequently, working from their studio in the city, and engaging with wider Arab art communities. Through global exhibitions, Sara is now one of Syria’s most internationally recognised artists. We touch on Syria’s changing position, as part of the Ottoman Empire and a French Mandate, during the 20th century, and the permeable borders that permitted their refuge in the years of President Bashar al-Assad’s violent regime. Sara describes their interest in biology, visiting butchers and mortuaries during their studies, and ‘surrealist eye’ on everyday life. We discuss Sara’s research into modern slavery, trafficking, and rape cultures, speaking with women during their time as artist-in-residence with the Institute of Psychiatry, Psychology & Neuroscience at King's College London (KCL). Sara explains how they translate oral testimonies and traumatic experiences through their artistic practice, and why music is their universal language, travelling from Sufi Asia, to the blues of Bob Dylan and Leonard Cohen. This episode was recorded live as part of PEACE FREQUENCIES, a 24 hour live radio broadcast to mark International Human Rights Day in December 2023, and 75 years of the Universal Declaration of Human Rights. Listen back to the recordings with Manthia Diawara and Billy Gerard Frank online, and find all the information in the first Instagram post: instagram.com/p/C0mAnSuodAZ Sara Shamma: Bold Spirits ran at the Dulwich Picture Gallery in London until 25 February 2024. Sara Shamma: Echoes of 12 Years runs at the National Museum of Damascus until 31 January 2025. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

    34 min
5
out of 5
6 Ratings

About

EMPIRE LINES uncovers the unexpected, often two-way, flows of empires through art. Interdisciplinary thinkers use individual artworks as artefacts of imperial exchange, revealing the how and why of the monolith ‘empire’. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast Read articles, and join talks, tours, events, and exhibitions: jelsofron.com/empire-lines Support EMPIRE LINES on Patreon: patreon.com/empirelines TRANSCRIPTS: drive.google.com/drive/folders/1-pwfn4U_P1o2oT2Zfb7CoCWadZ3-pO4C?usp=sharing MUSIC: Combinación // The Dubbstyle PRODUCER: Jelena Sofronijevic

You Might Also Like

To listen to explicit episodes, sign in.

Stay up to date with this show

Sign in or sign up to follow shows, save episodes, and get the latest updates.

Select a country or region

Africa, Middle East, and India

Asia Pacific

Europe

Latin America and the Caribbean

The United States and Canada