Ed. Nº1 Frontier

Exhibition view of the Artist Assembly held at the IMA on the exhibition opening May 14, 2016, and utilising the sand-bag ‘assembly point’. Photograph by Sam Cranstoun.

Exhibition view of posters by Demian DinéYazhi’ & R.I.S.E.: Radical Indigenous Survivance & Empowerment, 2014-2015, at the Institute of Modern Art, Brisbane. Photograph by Carl Warner.

View of entrance to IMA featuring exhibition signage and ‘bullet hole’ exhibition design by Claire Humphreys and Kevin O’Brien. Photograph by Sam Cranstoun.

Close view of ‘bullet hole’ exhibition design by Claire Humphreys and Kevin O’Brien. Photograph by Carl Warner.

Exhibition view of costumes from Alice Creischer, To Camille B., 2016, at the Institute of Modern Art, Brisbane. Photograph by Sam Cranstoun.

Exhibition view of Alice Creischer, To Camille B., 2016, at the Institute of Modern Art, Brisbane. Photograph by Sam Cranstoun.

Gordon Hookey, MURRILAND!, 2015-ongoing, oil on canvas, 210 x 1000cm. A Frontier Imaginaries commission, courtesy of the artist and Milani Gallery. Photograph by Sam Cranstoun.

Sketches from Gordon Hookey, MURRILAND!, 2015-ongoing, at the Institute of Modern Art, Brisbane. Photograph by Sam Cranstoun.

TM-5867-3 / A village chief in traditional dress, as was customary for the arrival of whites. Part of 101 paintings of the history of Zaire/Congo, 1973-1974. Courtesy of Johannes Fabian and the Tropenmuseum Amsterdam (Nationaal Museum van Wereldculturen), selection of images by Gordon Hookey.

TM-5867-5 / The King of Congo, looking over the Nzadi river. Beside him is the Portuguese explorer Diogo Câo, who called this river ‘Zaire’. Part of 101 paintings of the history of Zaire/Congo, 1973-1974. Courtesy of Johannes Fabian and the Tropenmuseum Amsterdam (Nationaal Museum van Wereldculturen), selection of images by Gordon Hookey.

TM-5867-49 / Lumumba holds his famous speech in Kinshasa with King Baudoin in the background. Part of 101 paintings of the history of Zaire/Congo, 1973-1974. Courtesy of Johannes Fabian and the Tropenmuseum Amsterdam (Nationaal Museum van Wereldculturen), selection of images by Gordon Hookey.

Exhibition view of Wendelien van Oldenborgh, From Left to Night, 2015, at the Institute of Modern Art, Brisbane. Photograph by Sam Cranstoun.

Wendelien van Oldenborgh, From Left to Night, 2015, DV, 32:00. Video still courtesy of the artist.

Exhibition view of Rachel O’Reilly with PA/LA/CE Architects (Valle Medina and Benjamin Reynolds) and Rodrigo Hernandez, Gladstone, Post-pastoral, 2016, from project The Gas Imaginary, 2011-ongoing, at the Institute of Modern Art Brisbane. Photograph by Sam Cranstoun.

Bontia Ely, Life Is Full of Situations, 1978, etching, 104 x 73.6cm. Courtesy of the artist and Milani Gallery. Photograph by Sam Cranstoun.

Exhibition view of Juan Davila and Martin Munz, Ned Kelly, 1983, at the Institute of Modern Art, Brisbane. Photograph: Sam Cranstoun.

Juan Davila and Martin Munz, Ned Kelly, 1983, DV, 00:03:45. Video still © Juan Davila, courtesy Kalli Rolfe Contemporary Art and LiMA.

Archival materials from the Moreton Bay Oyster Company, ca. 1880s-2016, photographs, documents, artefacts, and oral histories, compiled by Elisabeth Gondwe, North Stradbroke Island Historical Museum. Photograph by Sam Cranstoun.

Exhibition view of works by Ryan Presley, at the Institute of Modern Art, Brisbane. Photograph by Sam Cranstoun.

Ryan Presley, Blood Money – 100 Dollar Note – Dundalli Commemorative, 2010, watercolour on archers paper, 90 x 42cm. Courtesy of Griffith University Art Collection.

Ryan Presley, Crown Land (To The Ends of the Earth), 2016, synthetic polymer paint and gold leaf on hoop pine panel, 53 x 43cm. Courtesy of the artist. Photograph by Carl Warner.

Exhibition view of Virtual Songlines, Virtual Meanjin, 2015, virtual heritage tour, at the Institute of Modern Art, Brisbane. Courtesy of Virtual Songlines. Photograph by Sam Cranstoun.

Vanessa van Ooyen, Senior Curator QUT Art Museum and William Robinson Gallery at the opening at the QUT Art Museum May 14, 2016. Photograph by Sam Cranstoun.

Aileen Burns and Johan Lundh, Executive Directors at the Institute of Modern Art at the opening at the QUT Art Museum May 14, 2016. Photograph by Sam Cranstoun.

Laura McLeod, Director Visual Arts at Australia Council for the Arts at the opening at the QUT Art Museum May 14, 2016. Photograph by Sam Cranstoun.

Exhibition view of the Artist Assembly held at the QUT Art Museum on the exhibition opening May 14, 2016, and utilising the sand-bag ‘assembly point’. Photograph by Sam Cranstoun.

Artist Assembly at the QUT Art Museum on the exhibition opening May 14, 2016. Photograph by Sam Cranstoun.

Exhibition view of posters by Demian DinéYazhi’ and R.I.S.E.: Radical Indigenous Survivance and Empowerment outside the QUT Art Museum. Photograph by Sam Cranstoun.

Exhibition view of photography by Helmut Newton documenting the installation of the Shell Oil Refinery, 1952-1958, at the QUT Art Museum. All works courtesy of the State Library of Victoria, Gift Shell Co. of Australia Ltd. 2005. Photograph by Sam Cranstoun.

Helmut Newton, Electricians Put Finishing Touches to “The British Electric Transformer” Shell Refinery, Geelong, ca. 1953–1954, gelatin silver, 26 x 21cm. Courtesy of the State Library of Victoria, Gift Shell Co. of Australia Ltd. 2005.

Helmut Newton, Man Doing Welding Work on Pipes, ca. 1953, gelatin silver, 24 x 21cm. Courtesy of the State Library of Victoria, Gift Shell Co. of Australia Ltd. 2005.

Helmut Newton, Unloading and Positioning of Absorber Tower Prior to Installation Shell Refinery, Geelong, ca. 1953, gelatin silver, 25 x 20cm. Courtesy of the State Library of Victoria, Gift Shell Co. of Australia Ltd. 2005.

Exhibition view of The Changing Face of Australia, 1970, at the QUT Art Museum. Courtesy of Shell Co. and the National Film and Sound Archive. Photograph by Sam Cranstoun.

Shell Film Unit Australia, The Changing Face of Australia, 1970, DV, 55:00, Robert Raymond (Director). Film still courtesy of Shell Co. and the National Film and Sound Archive.

Exhibition view of Megan Cope, RE FORMATION, 2016, at the QUT Art Museum. Photograph by Sam Cranstoun.

Exhibition view of Megan Cope, RE FORMATION, 2016 and Sawangwongse Yawnghwe, The Battle of Tanggyan, 2015, at the QUT Art Museum. Photograph by Sam Cranstoun.

Megan Cope, RE FORMATION, 2016, cast concrete, treated used beer cans, white sand and black (ilmenite) sand, 880 hours studio labour with assistants and volunteers, with thanks to: Hannah Evans, Dusty Anastassiou, Leilani Turner, Sophie Allan, Paul Gorrie, Akiko Yamasaki, and Supina Bytol. A Frontier Imaginaries Commission, with the support of Arts Queensland. Photograph by Sam Cranstoun.

Megan Cope, RE FORMATION 1: Cast Concrete Oysters and Ilmenite. Photograph by Sam Cranstoun.

Exhibition view of Sawangwongse Yawnghwe, Yawnghwe Office in Exile, 2002–2015, at the QUT Art Museum. Photograph by Sam Cranstoun.

Sawangwongse Yawnghwe, Peace Industrial Complex, 2015, pencil and crayon on paper, 150 x 350cm. Courtesy of the artist and Canada Council for the Arts. Photograph by Sam Cranstoun.

Detail of Sawangwongse Yawnghwe, Peace Industrial Complex, 2015. Courtesy of the artist and Canada Council for Arts. Photograph by Sam Cranstoun.

Exhibition view of the real estate maps collection from the John Oxley Library, selected real estate posters, 1893–1963. Courtesy of the John Oxley Library, State Library of Queensland. Photograph by Sam Cranstoun.

Poster from the real estate maps collection from the John Oxley Library. Courtesy of the John Oxley Library, State Library of Queensland.

Tom Nicholson with Grace Samboh, Towards Figures of Dedication, and a Flood, 2015, single channel HD video, 24:49min. Courtesy of the artist and Milani Gallery.

Tom Nicholson, Scenes for an Archipelago, 2015-2016, 12 unsynchronised HD videos and 65 resin cast diorama figurines. Courtesy of the artist and Milani Gallery. Photograph by Sam Cranstoun.

Tom Nicholson, Scenes for an Archipelago, 2015–2016, 12 unsynchronised HD videos and 65 resin cast diorama figurines. Video still courtesy of the artist.

Tom Nicholson, Scenes for an Archipelago, 2015–2016, 12 unsynchronised HD videos and 65 resin cast diorama figurines. Courtesy of the artist and Milani Gallery. Photograph by Tom Nicholson.

Exhibition view of Elizabeth A. Povinelli Symphony for Late Liberalism, 2011–ongoing. Courtesy of the artist. Photograph by Sam Cranstoun.

Detail of Elizabeth A. Povinelli, Symphony for Late Liberalism, 2011–ongoing. Courtesy of the artist. Photograph by Sam Cranstoun.

Karrabing Film Collective, Windjarrameru, TheStealing C*nt$, 2015, HD video, 00:25:00. Video still courtesy of the Karrabing Film Collective.

Ho Ruin An, DASH, 2016, car seats, six synchronised videos, five tablets, five tablet holders, headphones, plywood, a Frontier Imaginaries Commission, supported by the Singapore Arts Council. Photograph by Sam Cranstoun.

DAAR (Decolonizing Architecture Art Residency), Common Assembly: Deterritorializing the Palestinian Parliament, 2011-2016, MDF, steel support, and A Common Assembly, 2014, DV, 14.24. Courtesy of Decolonizing Architecture Art Residency. Photograph by Sam Cranstoun.

DAAR (Decolonizing Architecture Art Residency), Common Assembly: Deterritorializing the Palestinian Parliament, 2011-2016, MDF, steel support. Courtesy of Decolonizing Architecture Art Residency. Photograph by Sam Cranstoun.

JShow VIII Return

Vivian Ziherl, Artistic Director Frontier Imaginaries at the opening of Jerusalem Show VIII at Al Ma’mal Foundation for Contemporary Art 6 October, 2016. Photograph by Issa Freij.

Jack Persekian, Curator Al Ma’mal Foundation for Contemporary Art at the opening of Jerusalem Show VIII at Al Ma’mal Foundation for Contemporary Art 6 October, 2016. Photograph by Issa Freij.

Opening of Jerusalem Show VIII at Al Ma’mal Foundation for Contemporary Art 6 October, 2016. Photograph by Jumana Emil Abboud.

Exhibition view of Christian Nyampeta, The Hereafter, 2016 and Richard Bell Embassy, 2013-2016, outside Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Exhibition view of Tom Nicholson, Comparative Monument (Shellal), 2014-2016, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Tom Nicholson, Comparative Monument (Shellal), 2014-2016, glass tesserae mosaics, wooden boxes, dimensions variable, and two-channel video: left channel: 5:58, right channel 14:23. Courtesy of the artist and Milani Gallery. Photograph by Tom Nicholson.

Tom Nicholson, Comparative Monument (Shellal), 2014-2016, two-channel video: left channel: 5:58, right channel 14:23. Video still courtesy of the artist.

Exhibition view of Megan Cope, RE FORMATION 1, 2016 and Wael Tarabieh, Epic of Gilgamesh 1-6, 1996, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Gordon Hookey, Bisan Abu Eisheh and Ryan Presley at the opening of Jerusalem Show VIII at Al Ma’mal Foundation for Contemporary Art 6 October, 2016. Photograph by Issa Freij.

Exhibition view of Ryan Presley, Crown Land (To the Ends of the Earth), 2016 and Jerusalem School painter, Icon of St George, c. late 1800s, at Al Ma’mal Foundation for Contemporary Art 6 October, 2016. Photograph by Issa Freij.

Left: Ryan Presley, Crown Land (To the Ends of the Earth), 2016, synthetic polymer paint and gold leaf on hoop pine, 53 x 43cm, courtesy of the artist. Right: Jerusalem School painter, Icon of St George, c. late 1800s, egg tempera on wood. Courtesy of the George Al Ama Collection. Photograph by Issa Freij.

Exhibition view of Wael Tarabieh, Epic of Gilgamesh 1-6, 1996 and Megan Cope RE FORMATION 1, 2016, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Megan Cope, RE FORMATION 1, 2016, cast concrete oysters and locally sourced clay dirt. Commissioned by Frontier Imaginaries, with the support of Arts Queensland. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, The Taming of Enkidu by Shamhat, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, Gilgamesh and Enkidu Meet in Battle, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, Gilgamesh and Enkidu Slay Humbaba, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, Gilgamesh and Enkidu Slay the Bull of Heaven, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, The Death of Enkidu, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Wael Tarabieh, Utnapishtim and the Morality of Gilgamesh, 1996, Coloured linocut prints on paper, 39.5 x 48cm. Courtesy of the artist. Photograph by Issa Freij.

Exhibition view of Benji Boyadgian, The Roundabout, part of the installation The Puppeteer, 2016 and various Bethlehem engraved mother-of-pearl artefacts, 1700s-1900s, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Benji Boyadgian, Stalemate, part of the installation The Puppeteer, 2016, oil on canvas. Courtesy of the artist. Photograph by Issa Freij.

Exhibition view of various Bethlehem engraved mother-of-pearl artefacts, 1700s-1900s, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Mother-of-pearl artefacts, 1700s-1900s. Courtesy of George Al Ama collection Photograph by Issa Freij.

Exhibition view of Yazan Khalili, I, The Artwork, 2016, at Al Ma’mal Foundation for Contemporary Art. Photograph by Issa Freij.

Yazan Khalili, I, The Artwork, 2016, framed photographic print 120 x 79.2cm, legal consultation Martin Heller. Commissioned by Riwaq Biennial with support of Mophradat. Courtesy of the artist. Photograph: Yazan Khalili (documented within the artist’s studio).

Tawfic Canaan Library, PDF texts, various sources, online interface and wallpaper. Courtesy of Al Ma’mal Foundation and the Birzeit University Museum. Photograph by Issa Freij.

Alice Creischer, To Camille B., 2016, single-channel video, costume, A3 brochure and collage installation. A Frontier Imaginaries commission. Courtesy of the artist and KOW Berlin. Photograph by Issa Freij.

Performance of Donna Kukama, Chapter X: A Mouthful of Hot Air (When We Re-Blackened Our Faces and Turned), during the opening of Jerusalem Show VIII at New Gate, 6 October 2016. Courtesy of the artist. Photograph by Issa Freij.

George Mahashe, Camera Obscura #4 A Refusal to Allow Mediation, 2016, translucent paper, tape and blackout fabric, at the Knights Palace, Jerusalem. Courtesy of the artist. Photograph by Issa Freij.

Vivian Ziherl and Richard Bell at the Qalandiya Encounters Enduring Nations: An Activation of Richard Bell’s Embassy at the rooftop of Al Ma’mal Foundation for Contemporary Art 14 October, 2016. Photograph by Issa Freij.

Richard Bell, Embassy, 2013-2016, scout tent and acrylic on foam board. Produced with the support of the Australia Council for the Arts. Courtesy of the artist and Milani Gallery, Brisbane. Photograph by Issa Freij.

Richard Bell in conversation with Karrabing Film Collective at the Qalandiya Encounters Enduring Nations: An Activation of Richard Bell’s Embassy at the rooftop of Al Ma’mal Foundation for Contemporary Art 14 October, 2016. Photograph by Issa Freij.

Richard Bell in conversation with Jack Persekian and Nuri al-Okbi at the Qalandiya Encounters Enduring Nations: An Activation of Richard Bell’s Embassy at the rooftop of Al Ma’mal Foundation for Contemporary Art 14 October, 2016. Photograph by Issa Freij.

Richard Bell in conversation with Bisan Abu Eisheh and Yasser Khanger at the Qalandiya Encounters Enduring Nations: An Activation of Richard Bell’s Embassy at the rooftop of Al Ma’mal Foundation for Contemporary Art 14 October, 2016. Photograph by Issa Freij.

Performance of Muhammad Mughrabi, The Birth of a Nation, during the opening at Al Ma’mal Foundation, 6 October 2016. Commissioned by Al Ma’mal Foundation. Courtesy of the artist. Photograph by Issa Freij.

Performance of Muhammad Mughrabi, The Birth of a Nation, during the opening at Al Ma’mal Foundation, 6 October 2016. Commissioned by Al Ma’mal Foundation. Courtesy of the artist. Photograph by Issa Freij.

Gallery Anadiel, Jerusalem during the Jerusalem Show VIII. Photograph by Issa Freij.

Wall of Return in Gallery Anadiel and Sawangwongse Yawnghwe, Shelling and Shooting, 2016, acrylic on cotton, 128 x 104cm. Commissioned by Al Ma’mal Foundation and Frontier Imaginaries, and produced with the support of the Canada Council. Courtesy of the artist. Photograph by Issa Freij.

Exhibition view of Karrabing Film Collective,Wutharr, Saltwater Dreams, 2016, at Gallery Anadiel. Photograph by Issa Freij.

Karrabing Film Collective, Wutharr, Saltwater Dreams, 2016, HD video, 28:53. Video stills courtesy of the artists.

Sawangwongse Yawnghwe, Shelling and Shooting, 2016, acrylic on cotton, 128 x 104cm. Commissioned by Al Ma’mal Foundation and Frontier Imaginaries, and produced with the support of the Canada Council. Courtesy of the artist. Photograph by Issa Freij.

Sawangwongse Yawnghwe, Sexual Violence not reported due to fear, 2016, acrylic on cotton, 128 x 104cm. Commissioned by Al Ma’mal Foundation and Frontier Imaginaries, and produced with the support of the Canada Council. Courtesy of the artist. Photograph by Issa Freij.

Elizabeth A. Povinelli, Symphony of Liberalisms, 2011-ongoing, wallpaper. Palestine chorus consultation Raja Khalidi; graphic design by Alaa Abu Asad, Yumi Maes, Tha’er Mitwalli, and Razan Munayer Courtesy of the artist. Photograph by Issa Freij.

Jumana Manna and Jack Persekian at the film screening of A Magical Substance Flows Into Me at Al-Hakawati 16 October, 2016. Photograph by Aline Khoury.

Jumana Manna, A Magical Substance Flows into Me, 2015, HD video, 67:00. Co-commissioned by the Sharjah Art Foundation and Chisenhale Gallery with Malmö Konsthall and the Biennale of Sydney. Video stills courtesy of the artist and CRG Gallery, New York.

Christian Nyampeta, The Hereafter, 2016, fabric prints, outside Old Commercial Press, Jerusalem. Photograph by Yumi Maes.

Yasser Khanger, Wounds of the Cloud, 2016, ink on paper. Courtesy of the artist. Photograph by Issa Freij.

Sawangwongse Yawnghwe, 2nd of March 1962, Rangoon, Burma, 2016, acrylic on cotton, 210 x 400cm. Commissioned by Al Ma’mal Foundation and Frontier Imaginaries, and produced with the support of the Canada Council. Courtesy of the artist. Photograph by Issa Freij.

Exhibition view of Sawangwongse Yawnghwe, 2nd of March 1962, Rangoon, Burma, 2016 and Shada Safadi, Keep Breathing, 2015, at Old Commercial Press. Photograph by Issa Freij.

Shada Safadi, Keep Breathing, 2015, fabric print, 105 x 180cm. Courtesy of the artist. Photograph by Jumana Emil Abboud.

Exhibition view of Wendelien van Oldenborgh, Prologue: Squat/Anti-Squat, 2016 and Shada Safadi, Keep Breathing, 2015, at Old Commercial Press. Photograph by Issa Freij.

Wendelien van Oldenborgh, Prologue: Squat/Anti-Squat, 2016, lenticular photographs, 120 x 80cm. A commission of Al Ma’mal Foundation and Frontier Imaginaries, produced with the support of the Mondriaan Fund Amsterdam and DAAD Artists-in-Berlin Program. Courtesy of the artist. Photograph by Issa Freij.

Rachel O’Reilly with PA/LA/CE Architects (Valle Medina and Benjamin Reynolds) & Rodrigo Hernandez, The Gas Imaginary, 2014 and Gladstone Post-Pastoral, 2016, from The Gas Imaginary project, 2011–ongoing, limited edition series of risograph prints on paper, ink, pencil, 27.9 x 31.5cm each. A commission of Frontier Imaginaries and produced with the support of Arts Queensland. Courtesy of the artists. Photograph by Issa Freij.

Rachel O’Reilly with PA/LA/CE Architects (Valle Medina and Benjamin Reynolds) & Rodrigo Hernandez, Torrens Title, Redacted, 2016, risograph print on paper, ink, pencil, 27.9 x 31.5cm. Courtesy of the artists. Photograph by Issa Freij.

Exhibition view of Aiman Halabi, Untitled, 2016, gouache on paper. Courtesy of the artist and Majaz Gallery, Majdal Shams. Photograph by Issa Freij.

Aiman Halabi, Untitled, 2016, gouache on paper. Courtesy of the artist and Majaz Gallery, Majdal Shams. Photograph by Issa Freij.

Exhibition view of Saba Innab, How to Build without a Land, 2011–ongoing and Christian Nyampeta, The Hereafter, 2016, at Old Commercial Press. Photograph by Yumi Maes.

Christian Nyampeta, The Hereafter, 2016, carved stones. A commission of Al Ma’mal Foundation, produced with the support of the Mondriaan Fund Photograph by Issa Freij.

Christian Nyampeta, The Hereafter, 2016, carved stones. A commission of Al Ma’mal Foundation, produced with the support of the Mondriaan Fund. Photograph by Issa Freij.

Christian Nyampeta, The Hereafter, 2016, single-channel video, 34:45, fabric prints. A commission of Al Ma’mal Foundation, produced with the support of the Mondriaan Fund. Photograph by Issa Freij.

Christian Nyampeta, The Hereafter, 2016, single-channel video, 34:45. Video still courtesy of the artist.

Exhibition view of Randa Maddah, A Hair Tie, 2016 and Aiman Halabi, Untitled, 2016, at Old Commercial Press. Photograph by Issa Freij.

Randa Maddah, A Hair Tie, 2016, bronze upon wooden base, 30 x 13 x 18cm. Courtesy of the artist and Gallery One, Ramallah. Photograph by Issa Freij.

Christian Nyampeta, The Hereafter, 2016, fabric prints, outside Shop #35, Jerusalem. Photograph by Yumi Maes.

Exhibition view of Gordon Hookey, Victory, Solidarity, Peace and Freedom, 2016, Tshibumba Kanda Matulu, 101 Paintings of the History of Zaire/Congo, 1973-1974 and Jawad Al Malhi, House No. 197 series, 2010-ongoing, at Shop #35, Jerusalem. Photograph by Al Ma’mal Foundation.

Gordon Hookey, detail from the unfinished mural Victory, Solidarity, Peace and Freedom, 2016, oil on canvas, 300 x 200cm. Commissioned by Al Ma’mal Foundation and Frontier Imaginaries, and produced with the support of the Australia Council for the Arts. Courtesy of the artist and Milani Gallery, Brisbane. Photograph by Issa Freij.

Jawad Al Malhi, House No. 197 series, 2010-ongoing, lightboxes, 30 x 10cm each. Courtesy of the artist. Photograph by Issa Freij.

Tshibumba Kanda Matulu, TM-5867-75 / The grave of the murdered chairman of the Balubakat, Jason Sendwe, part of 101 Paintings of the History of Zaire/Congo, 1973–1974, projection of 35mm slides. Courtesy of Johannes Fabian and the Tropenmuseum Amsterdam (Nationaal Museum van Wereldculturen). Photograph by Issa Freij.

DAAR (Decolonizing Architecture Art Residency), School in Exile,, 2016, custom furniture for a library in the Girls School of Shu’fat Refugee Camp. Courtesy of the artists.

Ed.Nº3 Asset

Richard Bell, Australian artist and political activist, at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Audience at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Speaker Nancy Jouwe, Ernestine Comvalius, Aruna Vermeulen, Vivian Ziherl, University of Colour at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Artist Yuki Kihara at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Audience and participants at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Marian Markelo at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Untold at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Audience at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Patricia Kaersenhout at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Marian Markelo at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Nedda Sou at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Richard Bell with Malique Mohamud at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

The Group Speak Up (Surya Nahumury, Stacy Alves, Lesny Heikerk) performing at the House Rules? event at the Van Abbemuseum, May 28th, 2017. Photographed by Tarona.

Audience and participants at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Malique Mohamud at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Junadry Leocaria performing at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

The Eindhoven Waackers performing at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Richard Bell with Farida Sedoc at the House Rules? event held at the Van Abbemuseum, May 28, 2017. Photographed by Tarona.

Audience of the Report Back BBQ event held at the North Stradbroke Island Historical Museum on 27th of August 2017.

The Report Back BBQ presentations held at the North Stradbroke Island Historical Museum on 27th of August 2017.

Denise Ferreira da Silva, Vivian Ziherl and Delvene Cockatoo Collins during the Report Back BBQ conversations held at the North Stradbroke Island Historical Museum on 27th of August 2017.

Vivian Ziherl during the Report Back BBQ conversations held at the North Stradbroke Island Historical Museum on 27th of August 2017. Photography: Paul Bishop

Denise Ferreira da Silva during the Report Back BBQ conversations held at the North Stradbroke Island Historical Museum on 27th of August 2017. Photography: Paul Bishop

Drinks after the Report Back BBQ conversations held at the North Stradbroke Island Historical Museum on 27th of August 2017. Photo: Paul Bishop

Audience at Cinema Assets, Columbia University, October 18, 2017. Photograph: Tom McCavera.

Nicholas Croggan at Cinema Assets, Cinema Assets, Columbia University, October 18, 2017. Photograph: Tom McCavera.

Vivian Ziherl at Cinema Assets, Columbia University, October 18, 2017. Photograph: Tom McCavera.

Sheree Bianamu at Cinema Assets, Columbia University, October 18, 2017. Photograph: Tom McCavera.

Elizabeth A. Povinelli, Symphony of Late Liberalism, with sound score by Thomas Bartlett and Stefana Fratella and video contributions by Miguel Coyula, Bonita Ely, Ho Rui An, Karrabing Film Collective, Yazan Khalili, Wendelien van Oldenborgh, Naeem Mohaiemen, MTL, Christian Nyampeta and Adania Shibli, e-flux October 20, 2017. Photograph: Ray Anastas.

Detail view, Farida Sedoc, Freetown Lounge, e-flux October 20, 2017. Photograph: Ray Anastas.

Installation view, Toxic Assets featuring works by Yazan Khalili, Alan Michelson and Bonita Ely, e-flux October 20, 2017. Photograph: Ray Anastas.

Detail view, Yazan Khalili, I, the Artwork (2016), October 20, 2017. Photograph: Ray Anastas.

Detail view, Bointa Ely, Locust People (1974), courtesy of Milani Gallery, e-flux October 20, 2017. Photograph: Ray Anastas.

Installation view, Toxic Assets, Featuirng Farida Sedoc’s Freetown Lounge and Gordon Hookey’s Hoogah Boogah, e-flux October 20, 2017. Photograph: Ray Anastas.

Chloe Faux and Sheree Binanamu at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Detail view, mural by Christian Nyampeta Infrastructure of Quasi-Events, Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Brian Kuan Wood at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Elizabeth A. Povinelli at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Vivian Ziherl, Brian Kuan Wood & Elizabeth A. Povinelli at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Tara Crichlow at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Demian DinéYazhi’ at Toxic Assets, e-flux October 20, 2017. Photograph: Ray Anastas.

Rachel O’Reilly and Alan Michelson, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Installation view, Toxic Assets featuring Christian Nyampeta’s Infrasturcture of Quasi Events, Farida Sedoc’s Freetown Lounge, and Gordon Hookey’s Hoogah Boogha, e-flux October 21, 2017. Photograph: Tom McCavera.

Vivian Ziherl and Bonita Ely, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Catherine Fennel and Alan Michelson, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Catherine Fennel, Alan Michelson and Rachel O’Reilly, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Nitasha Dhillon and Amin Hussein, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Laura Harris, and Shelly Nicole, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Laura Harris, Shelley Nicole and Jaskiran Dhillon, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Constantina Zavistsanos, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Jaskiran Dhillon and Shelley Nicole, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Constantina Zavitsanos, Laura Harris, Shelley Nicole and Jaskiran Dhillon, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Installation view, Toxic Assets featuring Farida Sedoc’s Freetown Lounge, and Christian Nyampeta’s Freetown Lounge, October 21, 2017. Photograph: Tom McCavera.

Simon Leung at Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Max Fox reading a contribution by Angela Mitroupoulos,Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Neferti Tadiar at Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Neferti Tadiar, Simon Leung and Max Fox, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Jonathan Beller, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

David Kim, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Elizabeth A. Povinelli and David Kim, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Jonathan Beller, Elizabeth A. Povinelli and David Kim, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Yazan Khalili, Toxic Properties, e-flux October 21, 2017. Photograph: Tom McCavera.

Karrabing Film Collective (Sheree Bianamu, Lin Yarrowin, Rex Sing, Ethan Jorrock and Gavin Bianamu) with Richard Bell, Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Elizabeth A. Povinelli, Sheree Bianamu, Linda Yarrowin and Rex Sing, Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Linda Yarrowin, Rex Sing and Ethan Jorrock, , Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Toxic Assets, e-flux October 22, 2017. Photography: Ray Anastas.

Christian Nyampeta, at Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Wendelien van Oldenborgh, at Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Julieta Aranda, at Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Adania Shibli, at Toxic Sovereignty, e-flux October 22, 2017. Photography: Ray Anastas.

Ed.Nº4 Humans

Humans of the Institution team within spatial design by UglyCute. From left to right: Anne Szefer Karlsen, Marc Hollenstein, Tatiana Lozano, Markus Degerman, Jonas Nobel, Lua Vollaard, Lian van Schaik, Vivian Ziherl, Emilie van Heydoorn and Anne Breure, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Q & A at Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Keynote speaker Ahmed Veriava, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Q & A at the first session of Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Salsa lesson during the lunch break at Humans of the Institution, de Veem, 25 November, 2017. Photograph byTarona Leonora.

Introduction to the afternoon plenum session by Anne Szefer Karlsen, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Charles Esche, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Vivian Ziherl, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Natasha Ginwala, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Lara Khaldi, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Carol Yinghua Lu, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Alan Michelson, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Sabine Sabolovic, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Vivian Ziherl, plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Lise Soskolne, plenum session, Humans of the Institution, de Veem, 25 November. Photograph by Tarona Leonora.

Manuela Moscoso, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Public using catchbox mic during plenum session, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Public during plenum session, spatial design by Uglycute, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Anne Breure introduces Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Position paper by Rachel O’Reilly, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Public during plenum session, visual design by Marc Hollenstein, Humans of the Institution, de Veem, 25 November, 2017. Photograph by Tarona Leonora.

Position paper by Despina Zefkili, Humans of the Institution, 25 November, 2017. Photograph by Tarona Leonora

Communal dinner, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Gabriëlle Schleijpen introduces Humans of the Institution, spatial design by UglyCute, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Antonia Majaca, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Gabriëlle Schleijpen, forum design by UglyCute, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Antonia Majaca, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Delegate Sharelly Emanuelson, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Anne Szefer Karlsen, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Bassam El Baroni, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Salsa lesson during the lunch break at Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Matthijs de Bruijne during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Maria Hlavajova during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Heejin Kim during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Imara Limon during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Manuela Moscoso during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Nana Oforiatta-Ayim during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Alan Michelson, Nana Oforiatta-Ayim and Lara Khaldi during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Public using the catch boxes during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Imara Limon, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Public using the catch boxes during the plenum session, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Ericka Florez presenting danceable lecture Sobredosis de Amor, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Hernan Baron presenting danceable lecture Sobredosis de Amor, Humans of the Institution, de Veem, 26 November, 2017. Photograph by Tarona Leonora.

Rune Peitersen at the Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Delegates, guests and contributors, at Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Eszter Szakacs, Lara Khaldi and Guus van Engelshoven at the Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Delegates, guests and contributors at the Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Niels van Tomme presenting the Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Delegates, guests and contributors at the Working Groups dinner hosted by De Appel, 27th November. Photograph by Tarona Leonora.

Ed.Nº5 Trade Markings

Murriland! #2 (2018) by Gordon Hookey, Freetown Lounge (2018) by Farida Sedoc, Fleece (2018) by Erwin Thomasse all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Grass Roots (2018) by Farida Sedoc, History of Zaire (1973-74) by Tshibumba Kanda-Matulu, Fleece (2018) by Erwin Tomasse, Move on over or we'll move on over you (2018) by Farida Sedoc, Histories (2017) by Bonita Ely all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by: Marcel de Buck.

Footnote to Squat/Anti-Squat #3 (We Are Here) (2018) by Wendelien van Oldenborgh, diorama of the interior of a falconer’s house during the height of the falconry trade in Valkenswaard, Collection Valkerij en Sigarenmakerij Museum Valkenswaard all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Footnote to Squat/Anti-Squat #2 (2016) by Wendelien van Oldenborgh. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Footnote to Squat/Anti-Squat #2 (2016) by Wendelien van Oldenborgh, Portrait Jac van Gerven (2012) by J.B. Kolman, illustrations from book Traité de Fauconnerie (1844) all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Portrait Jac van Gerven (2012), by J.B. Kolman. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Kate Fletcher with Peregrine Falcon. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

diorama of the interior of a falconer’s house during the height of the falconry trade in Valkenswaard, Collection Valkerij en Sigarenmakerij Museum Valkenswaard. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Engraved Mother of Pearl Shell presenting Colonel Gally Passebose and the first Kanaky uprising, c. 1879, Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Crown Land (To the Ends of the Earth) (2016), by Ryan Presley, Engraved Mother of Pearl Shell presenting Colonel Gally Passebose and the first Kanaky uprising, c. 1879, Fair Coin (Sum Zero) (2017), Terror Island (2017), by Ryan Presley all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Für Camille B (2016), by Alice Creischer, Wutharr, Saltwater Dreams (2016), The Mermaids, Mirror Worlds (2018) by Karrabing Film Collective all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Group portrait Karrabing Film Collective with Jac van Gerven. Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Symphony of Liberalisms (Eindhoven) (2018), by Elizabeth A. Povinelli with Vivian Ziherl and Julie Peeters, The Mermaids, Mirror Worlds (2018), by Karrabing Film Collective, Für Camille B (2016), by Alice Creischer all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Foreground: Collection Valkerij en Sigarenmakerij Museum Valkenswaard, Background: Symphony of Liberalisms (Eindhoven) (2018), by Elizabeth A. Povinelli with Vivian Ziherl and Julie Peeters all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Cigar-rolling demonstration by Jacques Dielis. Trade Markings exhibition held at the Van Abbemusuem on April 7, 2018. Photograph by Marcel de Buck.

Foreground: ‘Amateur’ tobacco bags, ca 1942-1945. Background: Nozinan, Primidone, (2018) by Erwin Thomasse, #andwealmostlost, (2013-2016) by Marcel van den Berg, History of Zaire, (1973-1974) by Tshibumba Kanda-Matulu, Symphony of Liberalisms (Eindhoven) (2018), by Elizabeth A. Povinelli with Vivian Ziherl and Julie Peeters all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Management and staff at 12-1/2 year anniversary of Willem II cigar factories (1928), Collection Sigar Makers' Museum, part of exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by: Vivian Ziherl

Canvas: sumi ink on sail. Title: 124A - Whoever by words, either spoken or written, or by signs, or by visible representation, or otherwise, attempts to bring into hatred or contempt, or excites or attempts to excite disaffection towards [the Government established by law for the Union or for the constituent units thereof] shall be punished with transportation for life or any shorter term, to which fine may be added, or with imprisonment which may extend to three years, to which fine may be added, or with fine, by Sawangwongse Yawnghwe (2018). Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

The Crochet Coral Reef (2005- ongoing), a project by The Institute of Figuring, Margaret & Christine Wertheim, Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Murriland! #1 (2018) by Gordon Hookey, Grass Roots (2018) by Farida Sedoc, Move on over or we'll move on over you (2018) by Farida Sedoc, all part of the exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Murriland! #1 (2016), by Gordon Hookey, Grass Roots (2018), Move on over or we’ll move on over you (2018), by Farida Sedoc, History of Zaire (1973-74), by Tshibumba Kanda-Matulu. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Grass Roots (2018), Move on over or we’ll move on over you (2018), by Farida Sedoc, History of Zaire (1973-74), by Tshibumba Kanda-Matulu. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Drawing Rights, (2018) by Rachel O’Reilly and Pa.LaC.E architects Valle Medina, Benjamin Reynolds and Rodrigo Hernandez, Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Drawing Rights, (2018) Rachel O’Reilly with Pa.LaC.E (Valle Medina, Benjamin Reynolds) (production still) Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018.

DASH (2016- ongoing), by Ho Rui An, Symphony of Liberalisms (Eindhoven) (2018), by Elizabeth A. Povinelli with Vivian Ziherl & Julie Peeters. Photograph by: Peter Cox.

DASH (2016- ongoing) by Ho Rui An (production still). Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018.

Proud Rebels (Ernestine Comvalius) (2015), Proud Rebels (Philomena Essed) (2015), Proud Rebels (Gloria Wekker) (2015), by Patricia Kaersenhout. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Proud Rebels (Philomena Essed) (2015), Proud Rebels (Gloria Wekker) (2015), by Patricia Kaersenhout, The Voyage (1993) by Blade, Modern Prophets (1983), by Dondi White. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

The Voyage (1993) by Blade, We the People Knotted Minds, This is the exit (1992) by Rammellzee, Symphony of Liberalisms (Eindhoven) (2018) by Elizabeth A. Povinelli with Vivian Ziherl & Julie Peeters all part of exhibition Trade Markings held at the Van Abbemuseum on April 7, 2018. Photograph by: Peter Cox.

I was born in Indonesia (2017), Towards Figures of Dedication and a Flood (2015), by Tom Nicholson. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

I was born in Indonesia (2017), by Tom Nicholson, Towards Figures of Dedication and a Flood (2015), by Tom Nicholson with Grace Samboh. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Poly-Si (2018), by The Otolith Group. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Peter Cox.

Poly-Si (2018), by The Otolith Group. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. (Screenshot)

Awanto3, Vivian Ziherl in front of House Rules? (2017), by Richard Bell with ALAIT. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Marian Markelo in front of House Rules? (2017), by Richard Bell with ALAIT. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Marian Markelo and audience. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Charles Esche in front of House Rules? (2017), by Richard Bell with ALAIT. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Annie Fletcher in front of House Rules? (2017), by Richard Bell with ALAIT. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Farida Sedoc and Awanto3. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Artists and audience. Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.

Falconry and Cigar-makers Museum Valkenswaard, Trade Markings exhibition held at the Van Abbemuseum on April 7, 2018. Photograph by Marcel de Buck.