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Dr S. Ayesha Hameed

Staff details

PositionLecturer in Visual Cultures and Programme Leader of the MA in Contemporary Art Theory at Goldsmiths University, London
Department Visual Cultures
Email a.hameed (@gold.ac.uk)
Phone+44 (0)20 7919 7470
Dr S. Ayesha Hameed

Ayesha Hameed’s work explores contemporary borders and migration, critical race theory, Walter Benjamin, and visual cultures of the Black Atlantic.  Her work has been performed or exhibited at ICA London (2015), Haus der Kulturen der Welt, Berlin (2014), at The Chimurenga Library at the Showroom, London (2015), Oxford Programme for the Future of Cities, Oxford (2015), Edinburgh College of Art (2015), Kunstraum Niederoesterreich Vienna (2015), Pavillion, Leeds in 2015, Homeworks Space Program, Beirut (2016), the Bartlett School of Architecture (2016), Mosaic Rooms (2017) and RAW Material Company (2017).

Her publications include Futures and Fictions (co-edited with Simon O’Sullivan and Henriette Gunkel Repeater 2017), Visual Cultures as Time Travel (with Henriette Gunkel Sternberg, forthcoming 2018); and contributions to Forensis: The Architecture of Public Truth (Sternberg Press 2014), We Travelled The Spaceways (Duke University Press forthcoming 2018), Unsound/Undead (Forthcoming 2018). 

Academic qualifications

  • MFA Open Media, Concordia University, Canada  (2008-9 withdrew to take up Postdoctoral Fellowship)
  • PhD Social and Political Thought, York University, Canada. (December 2008)
  • Graduate Certificate Digital Technologies in Design Art Practices, Faculty of Fine Arts, Concordia University, Canada. (2006)
  • The School of Criticism and Theory at Cornell University (2003)
  • MA Social and Political Thought, York University, Canada. (2001)
  • BA Honours in Sociology with First Class Honours, University of Alberta, Canada. (1997)

Teaching

Current: BA
Space and Time
Landscape and Power (20 week module)

Forthcoming: MA
Ocean as Archive (2018-19 onwards)

Previous:
Link Seminar (Core course BA Fine Art and History of Art) Co-convenor
Landscape and Power: Between Land and Sea 
Landscape and Power: From Stars to Sky
Conflicts and Negotiations   (MA Research Architecture)
Sites of Memory (BA)
Introduction to Art History (Core Course BA Fine Art and History of Art/BA History of Art) Convenor

Areas of supervision

PhD supervision

  • Ifor Duncan (Co-Supervisor) PhD Department of Visual Cultures (2014- )
  • Richard Hylton (Supervisor) PhD Department of Visual Cultures (2013-2018)
  • Karen Mirza (Co-Supervisor) PhD Centre for Research Architecture (2009-11)

External examiner:                                                                                                  Roopesh Sitharan (Visual Cultures Goldsmiths)                                                            Macon Holt (Cultural Studies Goldsmiths)

Professional Activities

RAW Material Academie 3 Faculty Member and Observer, Dakar (2017)
Guest Lecturer Dutch Art Institute Arnhem (2017)
External Examiner BA (Hons) Moving Image Brighton University (2017-)
Programme Revalidation Panel Member, MA Asian Art Histories, LASALLE Singapore 2015
Associate Member ACRU (Audio Culture Research Unit) Kingston University
Co-convenor “Futures and Fictions” Department of Visual Cultures Public Program (with Simon O’Sullivan and Henriette Gunkel) Goldsmiths Autumn 2015
Research Fellow, Forensic Architecture, Centre for Research Architecture, Goldsmiths, 2011-14

Performances/Screenings

1. Black Atlantis is a multi-part experimental lecture performance that combines sound and moving image. It looks at possible afterlives of the Black Atlantic: in contemporary Mediterranean migration, through Afrofuturistic dancefloors and soundsystems, and in outer space.
 
Part 1 “Black Atlantis: Bodies and Storms” performed at:
ICA London (2015)
Institute of Historical Research, University of London. (2015)
Edinburgh College of Art (2015)
The Chimurenga Library, The Showroom, London (2015)
Goldsmiths MFA Lecture Series (2016)
Club Transmediale Berlin (2017)
Raw Material Company, Dakar (2017)

Part 2 “Black Atlantis: Agitations and Adaptations” performed at:
Oxford Programme for the Future of Cities, Oxford  (2015)
no.w.here, London (2015)

Part 3 “Black Atlantis: The End of Eating Everything” (with Tom Hirst) performed at:
Empire Remains, London (2016)
Resonance Extra FM (2017)
Camden Arts Centre (2018)
Nanaimo Art Gallery (2018) Installation
Konsthall C Stockholm 2018 (Installation and Performance)
 
Part 4 “Black Atlantis: The Plantationocene” performed at:
Alice Yard, Trinidad (2016)
Dutch Art Institute, Arnhem (2017)
The Contemporary Contemporary, Aarhus (2017)
Historical Materialism, Beirut (2017)
Techno Futures and Black Resistance, Goldsmiths (2017)

Part 5 “Black Atlantis: Retrograde Automatism” Performed at:
Keynote Society for Artistic Research University of Plymouth (2018)
Royal Academy, London (2018)

2 “A Rough History of the Destruction of Fingerprints” is multi-media project that explores the Jungle, the migrant campsite in Calais and the use of biometric databanks to track the entry of migrants.

Lecture Performance at:
Ashkal Alwan Beirut (2016)
The Horse Hospital London (2016)
Mosaic Rooms London (2017)
“The System of Systems” Athens (2017)

Film Screened/Presented at:
Pavilion, Leeds (2015)
“Social Glitch” Kunstraum Niederoesterreich Vienna (2015)
Bartlett School of Architecture (2016)
“Now Showing” Cinenova (2017)
Berwick Film Festival (2017)
Kaunas International Film Festival (2017)
Slough Foundation (2017)
The Arts Catalyst (2018)

Installation included in
“Forensis” HKW Berlin (2014)
"Forensic Architecture: Towards an Investigative Aesthetics," MACBA Barcelona; MUAC Mexico City (2017)

3 Other Works

 “Borders in the City1 ” Public Performances (Co-Directed with Anita Schoepp), Montreal 2008-10. Presented at:
University of the Streets Café, Montréal.
 International Society for Electronic Art, Singapore.

“mask and ritual” (Performance 2011-12) Director, Performed at
Sarai Reader 09: The Exhibition, New Delhi (2012)
“La Commune”, Banff Centre for the Arts. (2011)

“Fire Fences Flight” (Video 2007) Director, Screened at:
Monitor Reruns (Group Exhibition) Images Festival Toronto (2014)
“TERRITOIRES/TERRITORIOS: Une sélection d’oeuvres d’artistes espagnoles et canadiennes” Commissaire: Joanna Empain, Montréal. (2011)    
“Giv Présente: Lancement des Nouveautés” Maison de la culture du Plateau Mont-Royal, Montréal. (2011)
Monitor 3” SAVAC’s Third Annual International Short Film and Video Festival, Toronto (March 2007)

sea/myth/build  Director, designer, programmer, (interactive flash animation 2004) Screened at: 
“Digital Poetics and Politics” Summer Institute, Queen’s University. (2004)
“Virtual Diasporas” Re-presenting Diasporas in Cinema and New (Digital) Media, University of Exeter. (2007)
 
Dorothy (video, 2011) Director, Screened at Banff Centre for the Arts 2011
“a garden folly” (super 8, 2009) Director, Screened at MAI (Montréal, arts interculturels) (2009)
Fire at Villawood, Fire at Schiphol (video, 2011) Director, Screened at Banff Centre for the Arts 2011
C'mon In! (video, 2008) Director, Installed at Rearranging Desires: Curating the "Other” Within. (Group Exhibition) FOFA Gallery, Concordia University 2008
|border| (performance video, 2007) Director, Installed at Rearranging Desires: Curating the "Other” Within. (Group Exhibition) FOFA Gallery, Concordia University 2008
rewrite (interactive sound installation, 2007) Director, Screened at Banff Centre for the Arts 2007

Publications

Edited Book

Futures and Fictions
Gunkel, Henriette; Hameed, Ayesha; O'Sullivan, Simon D. and UNSPECIFIED, eds. 2017. Futures and Fictions. London: Repeater. ISBN 9781910924631

Visual Cultures as Time Travel
Hameed, Ayesha and Gunkel, Henriette, eds. 2016. Visual Cultures as Time Travel. UNSPECIFIED.

Book Section

Conversation with Louis Moreno and Ayesha Hamed
Eshun, Kodwo. 2017. Conversation with Louis Moreno and Ayesha Hamed. In: Henriette Gunkel; Ayesha Hameed and Simon D. O'Sullivan, eds. Futures and Fictions. London: Repeater. ISBN 9781910924631

The Time and Sound of the Nautical Border
Hameed, Ayesha. 2016. The Time and Sound of the Nautical Border. In: , ed. Charting Imperial Territories. University of British Columbia Press.

Black Atlantis
Hameed, Ayesha. 2014. Black Atlantis. In: Forensic Architecture, ed. Forensis: The Architecture of Public Truth. Sternberg Press. ISBN 978-3-95679-011-9

What Does the Moving Image Desire?
Hameed, Ayesha. 2013. What Does the Moving Image Desire? In: , ed. Sarai Reader 09: Projections. Delhi: Sarai Media Lab, pp. 323-330.

The Petrification of the Image
Hameed, Ayesha. 2012. The Petrification of the Image. In: Godofredo Nobre Enes Pereira, ed. Savage Objects: Inhuman Political Alliances. Porto: Imprensa Nacional-Casa da Moeda.

Borders in the City
Hameed, Ayesha. 2011. Borders in the City. In: J. Keri Cronin and Kirsty Robertson, eds. Imagining Resistance: Visual Culture and Activism in Canada. Wilfrid Laurier Press. ISBN 978-1-55458-257-0

Virtual and Material Topographies
Hameed, Ayesha. 2008. Virtual and Material Topographies. In: Danny Butt; Jon Bywater and Paul Nova, eds. Place: Local Knowledge and New Media Practice. Cambridge Scholars Publishing. ISBN 978-1-8471-8484-9

Sailing Ships and Distant Shores: Capitalism, Slavery and the Sea
Hameed, Ayesha. 2004. Sailing Ships and Distant Shores: Capitalism, Slavery and the Sea. In: James Gifford and Gabrielle Zezoulka-Mailloux, eds. in Culture and the State: Landscape and Ecology (Volume 1). CRC Humanities Studio.

Article

Trace
Hameed, Ayesha. 2012. Trace. Reviews in Cultural Theory, 2(3), ISSN 1918-9710

Yaron Lapid: The New Zero
Hameed, Ayesha. 2011. Yaron Lapid: The New Zero. Photoworks, 16,

Rights of Passage”
Godfrey, Mark; Demos, T.J.; Weizman, Eyal and Hameed, Ayesha. 2010. Rights of Passage”. Tate Etc, 19,

Universal Catastrophe - Roundtable On Terrorism
Hameed, Ayesha; Weizman, Eyal; Pereira, Godofredo Nobre Enes; Tavares, Paulo; Di Carlo, Tina and Khalili, Yazan. 2010. Universal Catastrophe - Roundtable On Terrorism. Revista Detritos, 4,

Love and Borders
Hameed, Ayesha and Le, Viet Ho. 2007. Love and Borders. West Coast LINE 49, 40(1),

Animating Exclusions: Ali Kazimi’s Continuous Journey and the Virtualities of Racialized Exclusion
Hameed, Ayesha. 2007. Animating Exclusions: Ali Kazimi’s Continuous Journey and the Virtualities of Racialized Exclusion. Topia, 17, ISSN 1206-0143

Embodying the Middle Passage
Hameed, Ayesha. 2007. Embodying the Middle Passage. Topia, 18, ISSN 1206-0143

Notes on the Politics and Potentials of New Media Engagement
Hameed, Ayesha and Vukov, Tamara. 2005. Notes on the Politics and Potentials of New Media Engagement. Public: art, culture and ideas, 31,

Nostalgic Landscapes – Andrew Hunter’s Giddy-Up! or a Darn Good Hat Act
Hameed, Ayesha. 2004. Nostalgic Landscapes – Andrew Hunter’s Giddy-Up! or a Darn Good Hat Act. FUSE, 27(4),

Digital

Border Controls/Border Movements
Hameed, Ayesha and Pourtavaf, Leila. 2007. Border Controls/Border Movements.

Exhibition Catalogue

The Object that Remains
Hameed, Ayesha. 2011. The Object that Remains.

Unless
Hameed, Ayesha. 2005. Unless.