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Building an International Knowledge Network: Ten Years of the Brooks International Fellowship
(2026-02-05)
Tate
Since 2014, Brooks International Fellows have been at the forefront of research at Tate, showcasing the range of research activity taking place across the organisation. These international visual arts professionals have collaborated with Tate in a range of disciplines including curatorial, learning, community and partnerships, collection care, research and interpretation, digital practice and visitor communications. On 22 January 2025, Tate hosted a major symposium to mark the definitive milestone of an incredible decade-long successful partnership with the Rory and Elizabeth Brooks Foundation and Delfina Foundation. This event, which took place at Tate Modern and online, brought together former Fellows and those who have hosted them at Tate and Delfina Foundation. The event traced how the Fellowship has opened Tate’s practices to international voices, enabling engagement with innovative practices developed in other parts of the world. The symposium also considered the broader significance and impact of the research. Sessions explored themes which resonate with the Fellows, including Socially Engaged Practices, Community Building, Friendship, Internationalism and Transnationalism. The event sought to trace these themes across multiple disciplines and practices, across a myriad of regional nuances and perspectives. The event was convened by Brooks International Fellowship Programme Manager Jess Sully. Recording 1 Welcomes and Introduction to the Brooks International Fellowship Maria Balshaw, Director, Tate David Dibosa, Director, Research & Interpretation, Tate Aaron Cezar, Director, Delfina Foundation Jess Sully, Strategic Research Projects Manager, Tate Presentations: Socially Engaged Practices, Community Building and Friendship Rabbya Naseer, Tate Research Centre: Asia: witness/ spectator/ bystander/ participant Daniela Ruiz Moreno, Learning, Tate Exchange: finding language for a practice Fernanda D’Agostino Dias, Collection Management: Collections in conversation, and why museums may manage similar artworks differently Sofàa Babis, Digital and Innovation: Applying a human-centred approach to digital learning Jenna Shaw, Collection Management: Sustainability in Exhibitions & Collections Transit: Registrars Guiding Innovation for a Greener Museum Madhushree Kamak, Visitor Communications: Arts x Technology: Changing the Museum Experience Erin Li, Curator, Delfina Foundation: Real Talks in the Kitchen Recording 2 Panel: Socially Engaged Practices, Community Building and Friendship Chair Emily Pringle, Independent Researcher and Consultant, Tate Host Panel 1: Friendship, Generosity, Love Rabbya Naseer Daniela Ruiz Moreno Erin Li Jayne Herringshaw, Head of Visitor Communications, Public and Internal Comms Panel 2: Community Engagement and Collaborative Practice Fernanda D’Agostino Dias Madhushree Kamak Panel 3: Learning Aastha Chauhan Sofàa Babis Jenna Shaw Recording 3 Presentations: Internationalism and Transnationalism Ayesha Matthan, Tate Britain Curatorial: Labor and Photography Kamini Sawhney, Tate Modern Curatorial: Learning to Listen Allison Thompson, Tate Britain Curatorial: Stan Firm inna Inglan: The Black Diaspora in London Marina Valle Noronha, Tate St Ives and Tate Liverpool Curatorial: Collections and Commons Giulia Lamoni, Tate Modern Curatorial: The Power With Which We Imagine Together: Feminist Collaborative Curating and Research Nadine Siegert, Tate Modern Curatorial: “You are glowing!” Radiations from the Archives of Nigerian Modernism Veeranganakumari Solanki, Tate Modern Curatorial: Expanding the Image (beyond the diasporic) Tina Barouti, Tate Modern Curatorial: Teaching Decolonization in Art History: From the Museum to the Classroom Victoria Munn, Tate Britain Curatorial: Her name, her voice Sheyda Aisha Khaymaz, Tate Modern Curatorial: Memory Made Modern: Reimagining Ancient Amazigh Visuality Recording 4 Panel: Internationalism and Transnationalism Chairs Elena Crippa, Curator of Contemporary Art: Exhibitions and Projects, The Courtauld, Tate Host Nabila Abdel Nabi, Senior Curator, International Art, Lead at Hyundai Tate Research Centre: Transnational, Tate Host Panel 1: Marginalised Voices and Transnationalism Kamini Sawhney Allison Thompson Giulia Lamoni Nadine Siegert Victoria Munn Panel 2: Decolonialism, Knowledge Keeping and Labelling Ayesha Matthan Marina Valle Noronha Veeranganakumari Solanki Tina Barouti Sheyda Aisha Khaymaz See the programme PDF for full details including biographies.
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Rethinking Modernism in North Africa and the Arab World
(2026-02-05)
Khaymaz, Sheyda Aisha
Convened by Sheyda Aisha Khaymaz, 2024 Brooks International Fellow in Tate Modern Curatorial, Rethinking Modernism in North Africa and the Arab World took place at the Starr Cinema, Tate Modern, London, on 20 November 2024. In The Darker Side of Modernity (2011), Walter Mignolo impugns the dichotomy between modernity and tradition, propounding that these concepts are framed within a Western perspective that positions ‘modernity’ and the ‘West’ as constructs that necessitated the invention of ‘tradition’ and the ‘Orient’. Numerous scholars, Naoki Sakai prominently among them, have likewise contested the applicability of the term ‘modern’ across the board, going as far as to declare modernity inherently and irredeemably Eurocentric and its discourses less than innocent.â In twentieth-century Europe, artists addressed the problem of representation by launching a complete break from the past, a creed manifest in the iconoclastic experiments of the avant-gardes. Clement Greenberg similarly described modern painting as the ‘devolution of a tradition’, which focused primarily on technique and medium. Greenberg’s articulation of modernist art as a reflexive, medium-specific exercise led to the centring of painting in modernist discourse and the hierarchisation of modernist expressions, with abstraction being particularly privileged. Rupture-centric, self-referential conceptualisations alike have since become a benchmark in the study of aesthetic modernism and, in turn, redounded to a distorted understanding of the various idiosyncratic modernist sensibilities in cultures around the world. These sensibilities involved a negotiation that reflected not only innovation but also a continuity of tradition, but they also often deviated from the convention of oil paint on canvas. The presenters addressed how artists from northern Africa and the Arab world engaged with Indigenous epistemes and traditional visual forms alongside other cultural vernaculars such as oral storytelling, muralism, functional objects, and ephemera. They considered how these artists responded to the socio-political events of their time, particularly revolutions that ended European colonisation and inaugurated nation-states. Additionally, they examined how postcolonial histories have shaped modern art in this region, as well as the impact of local and transnational exchanges, art schools, pedagogies, and collective efforts focused on solidarity. The symposium brought these considerations into focus, reassessing and complicating our understanding of aesthetic modernism. It also built on Tate Modern’s In the Studio display ‘The Shape of Words’, facilitating discussions and further explorations of the display’s thematic remit. Panel 1: Re-evaluating Appropriation, Transculturation, and Representation William Gallois, Professor of the Islamic Mediterranean, University of Exeter Max Boersma, Postdoctoral Researcher, Kunsthistorische Institut, Freie Università¤t Berlin Hannah Feldman, Keith L. and Katherine Sachs Associate Professor of Contemporary Art, University of Pennsylvania Panel 2: Thinking Beyond Modernism – Thinking Through the Local and the Vernacular Connie Sjà¶din, Doctoral Researcher, University of Oxford Abdeslam Ziou Ziou, Independent Researcher, CARCDAM - Creative Research Cooperative Jessica Gerschultz, Lecturer in Contemporary Art History, St Andrews University See the programme PDF for full details including biographies.
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