While in Barbados, Ayesha will be working on and conducting research for her ongoing project Black Atlantis. Black Atlantis is a live audio-visual essay that looks at possible afterlives of the Black Atlantic: in contemporary illegalized migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space.
Black Atlantis combines two conversations – afrofuturism and the anthropocene. It takes as point of departure Drexciya, the late 20th century electronic music duo from Detroit, and their creation of a sonic, fictional world. Through liner notes and track titles, Drexciya take the Black Atlantic below the water with their imaginary of an Atlantis comprised of former slaves who have adapted to living underwater.
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 and at Homeworks Space Program, Beirut in 2016.
Her publications include contributions to Forensis: The Architecture of Public Truth (Sternberg Press 2014), We Travelled The Spaceways (Duke University Press forthcoming 2017), Unsound/Undead (Univocal, Forthcoming 2017); and books including Visual Cultures as Time Travel (with Henriette Gunkel Sternberg, forthcoming 2017), Futures and Fictions (co-edited with Simon O’Sullivan and Henriette Gunkel forthcoming 2017). She is currently the Joint Programme Leader in Fine Art and History of Art and formerly a Research Fellow with Forensic Architecture at the Centre for Research Architecture at Goldsmiths University, London.