Monthly Archives: April 2021

As the effects of the coronavirus pandemic have rippled through society, musicians and artists are amongst those whose livelihoods have been significantly affected. With venues closing down and concerts and tours cancelled, many have focussed on channelling their energy into resilience.I didnt write any songs for a good three or four months, says Jeangu Macrooy. The world was so different.

In an exclusive interview with wiwibloggs, the Eurovision star said he struggled to find artistic inspiration throughout the pandemic. I usually get my inspiration from going to the theatre, movies, just meeting friends randomly and having new conversations, Jeangu told our William. Its been interesting. But now, hes ready to bounce back. Representing The Netherlands at Eurovision 2021, Jeangu will perform Birth of a New Age in Rotterdam.

A departure from his Eurovision 2020 entry Grow, Jeangus new song is reflective of his journey with his own confidence and self-worth. When I wrote Grow, I had a long period of time where I was not feeling like myself and I was crawling out of this pit, he explained. I think Birth of a New Age reflects where I am right now.Im more confident, more strong, Im the optimist I always was.

Much of that strength and optimism comes from his heritage. In many ways, Jeangu is an ambassador to Suriname the country of his birth and the place he first discovered music. Rightly so, Jeangu is proud of his identity and incorporates elements of Surinamese culture into his music. I was working on the lyrics a few days before the studio session, he said from his home in Amsterdam. I was thinking about my heritage and the country that is my foundation of who I am as a person. I remembered this old saying which literally means, Im half a cent, you cant break me (because its the smallest denomination of coin). Its a way of saying you may underestimate me, but I know my own worth, I know my own strength and thats what will keep me going.

One of the most undeniably striking features of Birth of a New Age are its lyrics. Many fans have drawn comparisons between Jeangus words and the political climate of Suriname. When quizzed by William, Jeangu explained that this wasnt a direct inspiration. The short answer is no, he said. But I got the association. Because for Suriname, its also the beginning of a new direction, a new age.

However, the song does have a message for the broader atmosphere and current cultural zeitgeist. Its inspired by these movements where people say, weve shut our mouths for too long, Jeangu said passionately. An out and proud gay man, Jeangu remains vocal about his drive for social change. Even here living in Amsterdam, [Black Lives Matter] has had a huge impact because it was a global movement and Im so happy that were living in the time where people have found the courage and the strength to use their voices against these systems of oppression and are fighting for whats right. Whether that be fighting for the Black Lives Matter movement or our queer community. We deserve to be here and we deserve respect.

That sentiment is something that shines through in Jeangus music video and live performance. During the premier performance of Birth of a New Age, Jeangu was joined on stage by his twin brother Xillan and ZO! Gospel Choir singing the your rhythm is rebellion motif.

But Jeangu is planning on a few changes for the Eurovision stage show. Its a different thing, its another chapter. As for the backing vocals, Jeangu plans on using a mix of both pre-recorded live vocals. Its yet to be confirmed whether Xillan will reappear as a backing vocalist, however. I cant reveal that yet, he teased.

What else? Well, Jeangu also gave us his top tips for visiting Rotterdam. He recommends visiting the Kunsthal museum, and grabbing something Surinamese to eat. Rotterdam is a very multicultural city, he said. I must say that I am still discovering Rotterdam myself. And were excited to discover it, too.

His final message for his fans is that hes ready to do them proud at Eurovision. Im ready to hit the stage. Im ready to give it my all, he exclaimed. We wish Jeangu the best of luck, and we know hell do The Netherlands and Suriname proud.

What did you take away from this interview with Jeangu Macrooy? Do you connect with the Birth of a New Age lyrics? Sound off in the comments below.

Read more Eurovision 2021 interviews here

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Interview: Netherlands' Jeangu Macrooy on "Birth of a New Age" | wiwibloggs - wiwibloggs

The intersection of sport and art has long been an interesting conversation. And, as a sector, we sometimes use those statistics to create division, but are art and sport audiences so very different?

Not at all, according to Gerry Bobsien, Director Maitland Regional Art Gallery (MRAG). While we often use those numbers to wedge the two, there is a really basic connection in their use of storytelling and spectacle.

The gallerys new exhibition Shadow Boxer (opening 5 June) will highlight the cultural fascination with boxing, and explore a duplicity of themes from race to gender, physicality and folklore.

Bobsien told ArtsHub: If you scratch the surface a little, so many artists, over so many years have turned to boxing as their subject. Theres a real interest for us in looking at why that is, and the very different perspectives artists offer the compelling stories around sport, rather than conquest itself.

That most literal aspect of narrative is explored by UK writer David Matthews (a journalist-turned-boxer) in a film that sits alongside the exhibition, which includes works by artists Blak Douglas, Fiona McMonagle, Karla Dickens, Keri Glastonbury, Nigel Milsom, Michael Willson, Richard Lewer, as well as boxing champion Bianca 'Bam Bam' Elmir.

-Gerry Bobsien, Director, Maitland Regional Art Gallery

Bobsien says Matthews talks a lot about physicality in his writings. As Bobsien sees it, He talks about similarities, as does Richard Lewer, who draws together the technical aspects of making art in terms of discipline and training.

The Melbourne-based Lewer spends his mornings in the studio and afternoons in the gym training boxers. He has made a series of to-scale steel boxing bags assisted by his crew at the Northside boxing gym. Theyve been shaped and beaten in the most physical way by those he trains.

The physicality of these boxers making marks on the steel is so seductive. Richard speaks fondly about his gym. How everyone gravitates to their own bag, and how the bags take on their own persona. And when all have left the gym, theres still a little movement in the air as though they're embodied in some way, explained Bobsien.

Lewer will also present a number of movement-based drawing workshops during the exhibition period.

The programming around this exhibition is just as important as the artworks, and that really brings out some of those other conversations directly with our visitors, Bobsien told ArtsHub.

Michael Wilson, Harris and coash Faris Chevalier focus on what's ahead, 2018. Courtesy the artist.

Bobsien said the whole narrative around boxing is deeply connected to stories of regional Australia.

The exhibition draws heavily on its collection of personal items from boxing great, the Maitland Wonder Les Darcy. He was a champion, but he was also a musician and a blacksmith. People called him a gentleman he was not a brute, explained Bobsien. There is undoubtably a class aspect around the sport in this region in particular where a lot of coal miners boxed to earn some extra coin and this is an aspect that Nigel Milsom unpacks in his work.

Shadow Boxer also enables the gallery to throw a spotlight onto the participation of Aboriginal champion fighters and the stories of tent boxers that toured country Australia , said Bobsien.

The gallery recently acquired works by Karla Dickens, produced for NIRIN: Biennale of Sydney, offering a moment to interrogate the galleries collection holdings.

Wes Enoch (who directed Roger Bennetts play Up the Ladder) will add his voice to this story in the exhibition publication, Bobsien said.

I suspect many boxing gyms, like those around here have all flags flying, affirming the place of Aboriginal boxers as champions of the sport, and Karla tells that story beautifully through her work looking at celebration and the flipside exploitation.

-Gerry Bobsien, Director, Maitland Regional Art Gallery

First Nations artist Blak Douglas, similarly looks at the idea of the hero and the narratives around David Sands, who also lived in the region and was the first Indigenous boxer to be entered into the World Boxing Hall of Fame.

These stories have a very immediate connection to our visitors and our community being able to tell stories that have a basis here in Hunter Region, but also absolute relevance across the country that is what regional galleries do well, Bobsien told ArtsHub.

That amplification of national zeitgeist through the local is also played out in the involvement of Lebanese-Australian boxer Bianca Bam Bam Elmir, who explores the nuances of gender, cultural diversity and again perceptions of physicality around sport as a Muslim woman.

Elmir says that boxing gives her agency. She doesnt shy away from talking about violence and what this means for her in the ring and this is a challenging subject on so many levels Bianca talks about consent and a level playing field with two people facing off against each other in a highly technical and defensive dance. There is something incredibly powerful in the way she talks about it in her workshops finding your strength and taking power through your body, explained Bobsien.

Elmir uses sport as a platform in her community work with young women, and also young boys, in crisis. She will be part of a panel discussion of artist boxers on 19 June.

One of the challenges for this exhibition has been that it presents so many stories. Its hard to know where to stop and rein things in, concluded Bobsien.

Shadow Boxer is showing at Maitland Regional Art Gallery from 5 June 8 August. Visit the gallerys website for public programs tailored to the exhibition.MRAG is located two hours north of Sydney.

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Bridging the art/sport divide with creative energy - ArtsHub

"Identifying as an attack helicopter" isn't the brilliant material that comedians like Dave Chapelle and Ricky Gervais think it is.

One of the worst stereotypes aimed at transgender people is that were all a bit uppity. In the soccer game of identity politics we are often characterised as the trigger(ed)-happy referees, just itching to call out anyone who deadnames or gets a pronoun wrong. One of the most policed places that this happens is in the world of stand up comedy. Trans jokes are big business.

Have trans people become the unwitting poster children of woke culture? Over the past few years a lot of red cards have been flashed at stand up comedians, and as a transgender woman I can definitely see why but as a transgender woman who also does stand up comedy I find myself genuinely conflicted.

When I watch a comedian saying something offensive about trans people Im more preoccupied with their technique than their offensiveness. A strange case of being offended as a comedian first and a trans woman second.

Its like inside me are two wolves; locked in eternal battle. One is a trans woman and the other is a comedian. They are both humping my leg.

Ive been doing comedy for 20 years (five of those post-transition) and Ive seen it change a lot. In the early to mid 2000s the aim of most comics levelling their wit at hot button topics was to make people laugh despite their politics. A punchline so clever it cut through any prickling social discomfort you might have felt during the premise or setup.

But for comics nowadays the audiences tastes have changed. And some might say for the better. Presently when I see a new comic trying to joke about school shootings, or pedophilia, or the Me Too movement, or even rape culture my sphincter tightens and I feel like an anxious mother watching her child try to do a Russian table cloth trick. Will the punchline justify the ugly tension Im feeling or will a tumult of offensiveness and cutlery rain into the audience and take out someones eye.

Inside me there are two wolves. One is a comedian and the other is a trans woman they are both blogging furiously about the show they just watched.

Theres no end of straight cis men (on Netflix) doing transgender comedy material. I think Ive watched them all (quarantine helped), and so Ive collected my thoughts about a few and thought Id share them with you all.

Like the thing today, the thing right now you cant make fun of, the thing thats too sensitive at this moment? Transgender people. See? You cant do it. Cant make fun of them. Its too sensitive. In fact, you cant even call them chicks with dicks anymore. No. No. You have to call them men who talk too much' Anthony Jeselnik

Anthony Jeselniks jokes never look good on paper. In a live setting though, (even one recorded on Netflix) you can still feel the sucker punch of his dark and black musings, but to pick at them from a page they lack any wit or surprise just their apparent danger. Jeselniks act can only be described as a cancel culture BDSM session. An offensive onslaught framed in a safe and comfortable environment. His audience knows what to expect and most (if not all) will lean into it. They expect to have their limits tested.

Saying the unthinkable is an often hilarious and cathartic way to rail against social mores (identity politics included) and Jeselnicks real skill is to accomplish this in as fewer words as possible: including his joke about transgender people. Jeselnik offends on two fronts (transphobia and sexism) in just ten words. Its a marvellous feat of economy and audience control.

Tracy Morgan in his post accident comeback special Stayin Alive says he would fuck Caitlyn Jenner (a bold move and the one thing the movement needs more than anything else: trans amorous men brave enough to say out loud they would fuck us) but Tracy cant leave it at that. He has to go into graphic detail about how he would fuck her. Graphic detail about the state of her body when hes done with her. Id fuck her pregnant! I know she doesnt have a pussy but she will when Im finished with her. Its as if Morgan has something to prove, as if he misguidedly feels he has to fuck the gay away.

So, the prime suspect in our criminal line up is Ricky Gervais. The arrows he has levelled at the trans community are noted and many. Gervais takes shots at Caitlyn Jenner both at the Golden Globes and in his 2018 special Humanity, albeit to make light of Jenners vehicular manslaughter case, and in particular the way celebrities arent held to account like the rest of us. He yanks the table cloth and leaves the cutlery and our indignation still standing. Being the medias newest trans darling doesnt make her exempt from critique is what hes saying. A hard but necessary pill to swallow. So far so good but where Gervais gets it wrong is in wrapping up this routine, where he tells us he now identifies as a chimpanzee called Bobo.

One thing I find genuinely upsetting about this is how trite and hack it is. Its nothing new for trans people to listen to the cis folk use our language and idioms against us. I identify as an owl! Im short but I identify as a tall person! I might be fat but Im actually thin on the inside; Im trans-slender. I identify as an attack helicopter (Fnar. Guffaw. Snort!!) To this last one my bog standard response lately has become Well why dont you fly away and fuck off then.

Find a new joke.

When Gruen host Wil Anderson came under fire in 2019 for suggesting that a Digital Avatar Instagram Influencer (read; fake-in-the-computer-made-up-bloop-bleep-person @lilmequila) identified as a robot I think the backlash was largely due to the joke feeling like more of the same. While I could see this as an attempt to utilise the currency of a zeitgeist buzz phrase for comedic effect its not lost on me that the trans community and our allies probably all rolled our eyes and thought Oh no, not this again. Any broader inference that both trans identities and robot influencers are actually fake feels like a long bow to draw, but as a comic my opinion is also that zeitgeist buzz phrases are not the only ingredient of which great jokes are made.

And then we come to Chappelle. First off I will say this he is really good. The tension he creates when bringing up taboos is electrifying. He owns what he says 100%. Chapelles mode of attack is often say the unthinkable and work back from there. He truly is a court jester dancing within the grey areas of public opinion. And while this does work to his benefit he really does seem to want to have his cake and eat it too. Again, much like Gervais, Chappelle wants to revel in his audiences ignorance of us. His routine is a laundry list of trans scare stories: surely sex with us means youre gay. Or Arent you all like Rachel Dolezal? Or I danced with one and I didnt know they were trans. I feel tricked!

Chapelle keeps saying how much he respects us and has no problem with us the smart persons way of saying Im not transphobic, but. yet once again this feels like misdirection. A way to get us on side while setting up for the punchline.

Chappelle is also under the impression that he has gained a free pass card because he met a trans woman (another comedian; the late Daphne Dorman) who laughed at his trans jokes. No mean feat Dave. Even I laughed at some of your trans jokes. Were not all the same and no one has to be trans to find your material problematic.. Like duh! This is about as genuine as saying Well, my one black friend doesnt mind.

Other comics with trans material include Louis CK, Joe Rogan, and Steve Hughes. They range from acutely transphobic (Steve Hughes) , to winkingly offensive (as is the case of Jeselnik) to even oddly compassionate (strange to say, but that honour goes to CK). While Louis says he envies us for being the only people who have fully worked out what is wrong with us and subsequently fixed it, he then includes a throw away gaffe about identifying as an owl.

The truth about all these routines though is that theyre simply not written for us.. Theyre written for cisgender people. And if we find them funny its usually by default. We laugh but we remain on guard because this humour still others us. The audience laughs because we remain alien and unfamiliar to them. Most of these comics are uniting the audience in their mutual ignorance of us and that isnt helping at all. No one goes home with any renewed insight into trans peoples lives. When people leave the comedy club we all still seem a bit uppity.

Chloe Black is a comedian, screenwriter and broadcaster. She tours regularly and is writer/ creator of web series Transferred, currently in development with Electric Yak Productions and Screen Australia

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What Offends Me Most About Transphobic Jokes Is How Lazy They Are - Junkee

8/10Director: Shaka KingStarring: LaKeith Stanfield, Daniel Kaluuya, Jesse Plemons, Dominique FishbackRunning Time: 2hr 6minRating: 15

In the ever-present wake of a turbulent year for Black Lives Matter, it seems appropriate for the story of Fred Hampton to be reignited and given new air to breathe in 2021. This historical account eerily soundtracks the current zeitgeist. BLM didnt start with the murder of George Floyd, Breonna Taylor and Elijah McClain (to name but a few), and it certainly didnt end with a generous posting of a black square on Instagram. This is a fight for equality that has been happening for generations. Shaka Kings new flick takes an investigative look into the whereabouts and the circumstances leading up to Fred Hamptons assassination in 1969. The film sheds further light upon the racism which is deeply interwoven within Western society and demonstrates the terrifying power of a pig-headed government with censorship, at any and all costs, on its mind.

Judas and the Black Messiah follows the story of William Bill ONeal who, having been offered as a plea deal by the FBI, infiltrates the Illinois chapter of the Black Panther organisation, led by Chairman Fred Hampton. The story unfolds as we see the way in which the FBI utilise their informants as expendable pawns in a game of politics, capitalising off the financial desperation of blue-collar, black Chicago citizens in the late-60s. They use any means necessary to quash what they deem to be a terrorist organisation.

On the flip side of the coin, King pays tribute to Chairman Hampton and the Panthers, maintaining a poise and a delicacy in the treatment of their legacy. The violent imagery in some of Hamptons public speeches remains, the kind of imagery that Right and White history books will cling on to, but so does the necessity of these messages. Sure, there may be talk of killing pigs, but only to emphasise the fatigue of being an ignored and non-existent entity underneath a fascist system. It is also not only the shoot-outs with Police that are being remembered in the film, but also the Panther-led Free Breakfast for School Children programme, the creation of a Rainbow Coalition in a unifying movement across all oppressed ethnic communities, and the Panthers doctrine of respect towards women. It becomes clear that preconceptions of the Panthers are dangerous and frequently do not paint the entire picture.

We see Daniel Kaluuya and LaKeith Stanfield reunite from their days in Jordan Peeles Get Out. Both actors performances in Judas and the Black Messiah have been recognised with an Academy Award Nomination for Best Supporting Actor for each of them. Kaluuya is a tour de force. He more than fills the large shoes of portraying Chairman Hampton, carrying an air of enormity with him on screen. He manages to create this empowering feeling which washes over when he delivers Hamptons public speeches; his vocal mimicry is astonishing, almost entirely replicating the eternally rolling forward cadence of the real Hampton.

LaKeith Stanfield has commented on the difficulty he found in having to portray ONeal. He reports breaking down on set on multiple occasions, due to the guilt he felt in playing this character. Despite these difficulties, Stanfield delivers a stand-out performance. Whilst ONeal is seen as a traitor by many, I found an element of pity and sympathy being created toward his character. Shaka King discusses in a podcast with IndieWire that there was an attempt by the writers and by LaKeith to demonstrate the apolitical nature of ONeal he was not motivated by politics in his role as an FBI informant. He was, in many ways, trapped. He was part of the struggle of the time. His motivation was to try and create a better life for himself. It takes quite some mastery and a high level of skill to create so many dimensions and layers to a character; a set of chops which Stanfield has in apparent abundance.

Whilst Kaluuya and Stanfield are especially strong performances, they by no means run away with the show. Dominique Fishback gives a beautiful voice to Deborah Johnson, Chairman Hamptons significant other. She gets in touch with the human aspect of Hamptons messianic personality and, through exposing Fred to his own vulnerabilities, gives him more power and drive than ever. Furthermore, Shaka Kings directorial eye must absolutely be commended. Exposition is spared and instead moments and conversational exchanges inflate any required context. This drops you right into the film and whisks you away on the ride with no seatbelts.

Judas and the Black Messiah is a memorable film. It is engaging, exciting, cerebral and empowering. It is certainly an important film in an age where we begin to question the motives and the actions of those whom we elect to speak for us. Judas and the Black Messiah I hope will stir the people into questioning and inspire change where the people see fit. For, as put by Chairman Hampton himself, where theres people, theres power.

Editor's Note: Judas and the Black Messiah is available to rent on the BFI Player

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Review: Judas and the Black Messiah - Nouse

Lives and ways of expressing emotions have witnessed a pronounced shift during these past 12 months. Normality has been replaced by a dehumanising reality that has regressed the traditionally mundane into a warped counterpart. Devices like the computer and the mobile phone have become windows, opening up into our minds and souls.

The externalisation of our thoughts, opinions, emotions and hopes have become intricately dependent on social media. Human interaction has on occasions been reduced to a Zoom meeting, virtual hugs, kisses and all. The most basic instinctive human behaviour of sincere endearment has become a forlorn travesty, emoticons and such. However, this outward expression of repressed feelings is still a necessity for some, even though reduced to a most empirical and elemental digital format.

Pawlu Mizzi, in his mission statement for his Wi Imb Wi exhibition, clearly expresses this: The pandemic is a protagonist game-changer that has manipulated how we behave; how we eat, how we relate, how we have sex, how we breathe, how we experience our innate human senses. It is as if life has been suspended in a virtual, simulated nether space, compounded by an impotence and an apathetic despondency. Our frustration is vented through the urgent clicking away on a computer keyboard or through the frantic caressing of a screen.

Going through the online comment boards of newspapers can be regarded as a litmus of frustration levels. Arguments at times degenerate into a demonstration of our mother tongues ability at the most colourful of expletives. Hate speech is showing a more dehumanising pathway, augmented by the relative safety offered through this inhuman impersonal interaction. Aldous Huxley, the author of Brave New World, was insightful and prophetic when he declared that I like being myself. Myself and nasty. It is so exasperating when one cannot put a face to an offensive or insensitive comment.

Whoever coined the term keyboard warriors was certainly on to something; he or she captured so effectively the zeitgeist of our times, particularly these pandemic ones. Sometimes, confinement and solitude bring out the worst in us, that which former human interaction somewhat mellowed. Those who lived in the pre-internet age, and who were more temperamental and impulsive, often resolved a squabble via strong words, followed, in the most extreme of cases, by a fist fight. The argument hence would many times be resolved, and bad blood would not curdle into lingering, simmering hatred and distaste that might fester into something dreadful; an invitation to forego the safety of ones home and venture outside into the real world, to deliver on ones keyboard threats.

Mizzi has transposed multiple exposure to a contemporary digital setting that integrated images from social media into totally new 21st century narratives

The photographic technique of double or multiple exposure has been used since the early days of photography, way back in the 1860s. These early photographers used this novel manipulation of the medium in double portraits of the same sitter, thus creating an otherworldly image that was intriguing and somewhat upsetting. Eadweard Muybridges pioneering photographic work, via his studies of motion and motion-picture projection, explored the possibilities of recording multiple images of the same subject in various stages of movement and abandon. In the 20th century, master photographers like Man Ray, Cecil Beaton and John Deakin poetically exploited the surrealistic possibilities of the technique.

Mizzi has transposed multiple exposure to a contemporary digital setting that integrated images from social media into totally new 21st century narratives. The protagonists are people who have agreed to participate in a project that the artist defines as a social exercise of collective portraiture. This was launched via The (Facebook) Portrait Project II Fading Social Distancing Facebook group on December 27 of last year, having an end-of-the-year deadline for any interested individuals from all around the world.

Each participant was consequently tagged and invited to share his/her thoughts and reactions about the modern ostracisation of social distancing, and the itch for the human touch, lost through the imposed solitude of lockdown.

The outreach transcended geographical boundaries, bringing the whole world together into one global village. A total of 363 people replied to this request, who were game to the project. Chronology was the only non-variable that Mizzi considered in the improvised juxtaposition of the profile pictures. The exercise is slightly reminiscent of Tristan Tsaras 1920s Dada experiments in spontaneous poetry, and of the much later Burroughs-Gysin cut-ups of articles and their impromptu rearrangement into new unconventionally structured narratives.

Mizzi factored in the chronology regarding the enrolling progression of members to the Facebook group as a springboard for the finished pieces. A collective portrait was created for every 10 consecutive group members who enrolled and who had to furnish the artist with one of their Facebook profile pictures to be used as fundamental material for the artist to work on. Thirty-seven composite Auerbach-like deconstructed portraits were thus created, which democratically merged physiognomies, emotions, disabilities, traits, cultures, races and ages into the blurred, schizoid, out-of-synch collective portraits, seemingly thriving amid multiple personalities.

The pandemic has deprived us of our identity and of our corporality, reducing our individuality to a mere shadow lost in the many pathways of the internet. Mizzi has exploited the mediumistic idiosyncrasies of social media to summon pixelated ghosts, together with their stories.

The artist has printed these composite portraits on aluminium dibond, for his third solo exhibition. His preoccupation with dualities has defined the artist along his career. Wi Imb Wi builds on his 2013 masters research project, titled (Facebook) Portrait Project. This current exhibitions title, loosely translated into English as face to face, investigates the metaphor by actually transposing and integrating multiple faces and identities. Absolute strangers, with no connection to each other, are merged into metaphysical, virtual alternatives.

The early photographers, even Muybridge, enjoyed the playful magic of a new technology which enabled them to create multiples of singular subjects in various ways and manners. Photographers like Beaton and Deakin created multiple exposures which are like ripples, most of the time originating from one single human face. Mizzis portraits are eddies that interact between themselves, through concealment and through selective revelation. These manifestations, captured on aluminium dibond, seem to embody the famous biblical verse: I am Legion, for we are many, a Boschian contemporary devilish nightmare of loss of identity.

Wi Imb Wi, curated by Melanie Erixon from Artsweven, is open at Il-Kamra ta Fuq, Mqabba, between April 27 and May 18 and can be visited by appointment. Visit the events Facebook page for more information.

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The intimacy among strangers - Times of Malta