Highlights

Confined Narratives, 2025 by Saud Baloch

Confined Narratives is an immersive installation of over seventy small metal chambers arranged in concentric circles around a central watchtower. The formation evokes both order and captivity, echoing the architectures of surveillance and control.

Seven chambers resonate with stories of individuals affected by enforced disappearances, expressed through haunting audio and fragmented visuals drawn from regions marked by conflict and political instability. The remaining chambers stand silent and empty, embodying absence and the unresolved.

At the top of the watchtower, four miniature chambers contain screens showing slow, deliberate movements of my body—a reflection on endurance, isolation, and the long silence that follows disappearance. Viewers are invited to look through narrow slits, creating an intimate yet unsettling act of seeing.

Through its interplay of sound, silence, and structure, Confined Narratives invites reflection on the unseen, asking how resilience endures beneath layers of control and silence.

Artha, 2024 - 2025 by Ngo Chun Tse

Artha, that renders and reinterprets key moments from Andrei Tarkovsky and Werner Herzog’s films. The left channel draws on Tarkovsky’s Stalker, depicting surreal, desolate landscapes that represent the invisible boundaries of exile. The animation mirrors the stillness and ambiguity of the Zone, presenting a terrain where past and present intersect in a space defined by both hope and despair.

The right channel reimagines Herzog’s Auguirre, the Wrath of God, transforming its relentless river journey into a chaotic, dreamlike flow. The animation reflects the historical struggles of displaced peoples navigating colonial violence, framing Aguirre’s doomed quest as a metaphor for exile, ambition, and loss. The centre channel sees displacement as no longer tied to any specific geography but as a universal, fluid condition. It reflects the internal experience of diaspora - fragmentation, memory, and the search for belonging in an unfamiliar world.

The darkened gallery not only resembles the room in Stalker - a space of yearning and unfulfilled desires - but, through the acoustic insulation lining the gallery floor, absorbs footsteps and amplifies a pervasive sense of solitude, or the psychological weight of diasporic experience, as if the room itself holds the accumulated memories and silenced histories of those in exile.

'The Living Tomb: In Life And Death We Are Intertwined', 2024 - 2025 by Simon Woolham

Installation at Basement Arts Project, Leeds.

ANAM CARA REMIX (SHEBEEN I / PIRATE STATION), 2025 by JAYKOE

This work explores sound as a form of connection, a meeting point between people, place, and memory. Developed as part of a wider project reflecting on a one-year residency at Metroland Cultures in Kilburn, the piece brought together a circle of percussionists that echoed through the space, creating a shared pulse between performers and audience. Each percussionist took a turn to lead, each one having the opportunity to be heard, reflecting on exchange, listening, and equality. The layered percussive sounds become a medium for dialogue between cultures, generations, and histories, transforming the space and the streets outside into a resonant space of collective energy and sound.