Professor Khadija von Zinnenburg Carroll PhD, MA, BA (hons)

Photograph of Professor Khadija von Zinnenburg Carroll

Department of Art History, Curating and Visual Studies
Professorial Fellow
Chair of Global Art History

Contact details

Address
Barber Institute of Fine Arts
University of Birmingham
Edgbaston
Birmingham
B15 2TS

I am an artist and a historian specializing in global histories and contemporary art. The legacies of colonialism from the sixteenth century to the present, around the world, are my focus.

Qualifications

  • PhD Harvard University
  • MA Harvard University
  • BA (hons) La Trobe University

Biography

I grew up between Austria and Australia and studied both Fine Art at the Akademie der Bildenden Kuenste in Vienna and liberal arts in Australia before going on to do my graduate studies in the US. I lived in New York City, Boston and LA and did my PhD in the History of Art and Architecture at Harvard. Then I had two post-doctoral positions in Berlin (DAAD and AvH) and spent five years in Berlin running an exhibition design company and developing my artistic practise.

My studio is in east London, since I came to the UK on a British Academy Newton International Fellowship.  My host was Cambridge University and their Museum of Archaeology and Anthropology where I curated The Lost World (Part 2) by the Aboriginal artist Julie Gough and made other interventions using the collection, including Partial Proclamations which is part of the permanent Tasmanian display. I have curated several other international exhibitions including Kranich Museum, and The Vienna Zocolo.

My installations and texts have been exhibited in venues such as the Venice Biennale, Institute of Contemporary Art London, Marrakech Biennale, and Skuc Llubijana. My first book, Art in the Time of Colony, inspired related exhibitions including Ore Black Ore in the Allegory of the Cave Painting at Extracity Kunsthal Antwerp; Investigated & Dissident Domesticity at Savvy Contemporary Gallery Berlin; Artists in Residence at the Pitt Rivers Museum Oxford; and Embassy Embassy at Haus der Kulturen der Welt Berlin.

Teaching

From 2017-18, I am convening the BA 3rd Year module Global Art and contributing to a new Art and Law module.

I also lecture on the MA program, in 2016-17 in Criticism and Methods and Theorising Exhibitions.

Postgraduate supervision

I welcome enquiries from prospective postgraduate students wishing to research any subject that overlaps with my interests.

PhD students include:

  • Azadeh Sarjooghian on Identity and Gender Stereotypes: The Representation of Muslim Men’s and Women’s Bodies in Contemporary Middle Eastern Art

Gender-related research in the Middle Eastern context has mainly addressed the female body and the plight of Muslim women in Islamic societies. Muslim masculinity has had little attention paid to it, in comparison with Muslim femininity and the Western obsession with the figure of the veiled Muslim woman. My research attempts to further the analytical research on Middle Eastern art and gender by considering the impact of globalisation on local gender relations, and by taking masculinities into account so as to assess the interactions between the stereotypical representation of Muslim men’s and women’s gender practices.

To this end, I will focus on the relationship between audience interest in Middle Eastern art and the Western curatorial policies and explore the impact of critical discourses, such as the notion of hybridity and social construction of gender identity, on the curators’/artists’ intentions to trace their changing trends. My research engages with various fields including Middle Eastern art criticism, the social aspects of contemporary curatorial practices, Muslim feminist theory, critical studies of men and masculinity, and postcolonial theory.

  • Stacey Kennedy on Women's agency in the African Contemporary Art World; exploring Afropolitan art networks

My research addresses women’s agency in the African contemporary art world, through an exploration in real time of the spaces in which the art world is made - for example art fairs, galleries, auction houses, exhibitions, museums. I specifically focus upon women who work as curators, art fair directors, gallery owners or managers, art practitioners, art historians and scholars in this sector of the art world, gathering rich empirical data through a series of in depth interviews. Here women of colour are more visible in positions of power than are women in the contemporary art world more broadly, which is notoriously dominated by the white western male. An investigation into the concept of ‘Afropolitanism’- cosmopolitanism with a connection to Africa- is crucial to this work, as I investigate how women negotiate and connect global art spaces.

The research penetrates a vibrant and expanding global African art scene whose players live and work between major cities. Field research will focus upon West and North Africa and include visiting art organisations in key sites- trips planned include field work in Accra, Dakar, Lagos, London, Marrakech and New York. The public nature of the art world allows me to visit events and exhibitions, accessing the wealth of visual material available and making contact with the women on the scene, whose voices and experiences I will centre in my research. I work in an interdisciplinary way, amalgamating Anthropology and Art History methodologies and research practices to contribute to the study of African Art History and debates around gender and feminism within Africa and its diasporas in the contemporary moment.


Find out more - our PhD History of Art  page has information about doctoral research at the University of Birmingham.

Research

My research comes in various forms: books, exhibitions, videos, performances, lectures. They all grapple with a set of concerns about power and representation. I am interested in Art History as a form of writing that is rigorous and rhythmic, political and poetic, that reflects the art and world it seeks to represent. Rather than working on a particular period or medium I’m interested in anachronism and reception history. Interrogating the geographic complacency of the discipline, I work comparatively and on non-European knowledge systems.

I have been doing art-research recently on confinement, imprisonment, detention and surveillance. As well as being scholarship my research feeds my art projects and aims also to be useful broadly to museums and other institutions who are grappling with the ethics of diverse representation, colonial collecting histories, and epistemic regimes based on existing hegemonies.

Other activities

I am an editor at Third Text journal. 

I am artist in residence at Border Criminologies (since 2015) within the Law faculty at Oxford University, working on an immigration detention archive, and play (to premier in Switzerland at the Konzerttheatre Bern on March 16, 2017).

I will be convening a conference on Challenging Art History with Settler Colonial Dynamics in May 2017 at the Barber Institute.

In 2017-2018 I am the Sackler-Caird fellow at the Maritime Museum and will be working on new art works and a conference entitled Cook’s New Clothes in 2018.

I am on the international board of Art Monthly Australasia.

I recently appeared on the BBC4 TV documentary Kew’s Lost Queen and am currently working on a radio program about my repatriation book project. I have a film being shown in the Casablanca International Film Festival in 2017 and other screenings. See my website for news: www.kdja.org

Exhibitions and Screenings

  • Immigrate into your Shadows, The House theatre, Plymouth (2018)
  • Kunst Macht Frei, Bonavero Oxford (2018)
  • New Work, Styrx Gallery Birmingham (2018)
  • Men in Waiting, Nottingham Contemporary (2018)
  • Art and Migration, Darwin Cambridge (2018)
  • The Gift, Fault Line, Australian Embassy Berlin (2018)
  • Silver Sehnsucht, Frieze (2017)
  • The Restitution of Complexity, Austrian Cultural Forum London (2017)
  • Art in the Time of Colony Hay Festival (2017)
  • Snail Eating Theatre, International Film and Video Art Festival Casablanca (2017)
  • Shadows Talk, Konzerthaus Theatre, Bern (2017)
  • Limbah Berbunyi, Contemporary Art Jogjakarta (2017)
  • Botanical Drift, Vegetal Mediations, Translocal Budapest (2017)
  • Imigrazie, Pesta Boneka Festival, Jogjakarta, Indonesia (2017)
  • Screening at LUX London, and Calvert22 Gallery London (2017)
  • Casablanca International Film and Video Festival, Morocco (2017)
  •  Snail Eating Theatre and Dissident Domesticity SPACE Gallery, London (2015)
  • A Breathcrystal, Project Space Dublin & Irish Film Institute (2015)
  • Prison House, UrbanLab, London (2014)
  • Botanical Drift, Kew Gardens, London, co-curated with Petra Lange-Berndt (2014)
  • Ethnographic Conceptualism and the City, University College London (2014)
  • Allegory of Cave Painting, Extracity Kunsthal, Antwerpen (2014)
  • Wilkommen, Bitte Gehen Sie Weiter, Haus der Kulturen der Welt, Berlin (2014)
  • Investigated, Savvy Contemporary, Berlin, together with Jesse Shipley 

    (2014)

  • Skins Cloak, National Museum of Australia, Canberra (2013)
  • That Breathed, Chisenhale Gallery, London (2013)
  • The Lost World (Part 2), Museum of Archaeology and Anthropology Cambridge & Contemporary Art Tasmania, Hobart. Curated solo exhibition of Julie Gough. (2013)
  • Partial Proclamations, permanent display, MAA Cambridge. (2012)
  • 40,000 Years of Modern Art, Institute of Contemporary Art London, On Language series. (2012)
  • The Rise and fall, performance installation, Marrakech Biennale, Morocco. (2012)
  • Vienna Zocalo, International Biennale Xalapa Mexico, Gallery Carlos Fuentes. (2011)
  • Kranich Museum, permanent exhibition, Hessenburg Germany, co-curated with Alex Schweder (2011)
  • Homebase V Berlin, cultural program, co-curated with Anat Litwin (2011)
  •   The Architect and The Urn, Greg Lundgren, Seattle, together with Alex Schweder (2011)
  • Graffiti Monument, Venice Biennale, Memosphere, Rumanian Pavilion (2007)
  • Europe Lost and Found, Plausible Artworlds, Philadelphia Institute of Contemporary Art (2007)
  • Track Changes, Lost Highway Exhibition, Skuc Gallery Ljubljana (2007)
  • PARK[ing] day, Los Angeles, with Adobe Architects (2007)
  • Constructing Nature: Swiss Landscape Design, Harvard Graduate School of Design (2007)
  • Zones of Contact, Biennale of Sydney (Curatorial assistant to the public program)(2006)
  • 6: six artists from the MIT visual arts program, Massachusetts Institute of Technology (MIT) Centre for Advanced Visual Studies and Space Other Gallery Boston. (2006)
  • DADA, with Diller Scofidio Architects, Museum of Modern Art NYC. (2006)
  • PROJECT ZAGREB: Transition as Condition>Strategy>Practice, Harvard Graduate School of Design and Zagreb City Museum. (2005)
  • The Sign Painters, Platform Gallery, Melbourne; Gallerie Blumberg, Vienna; Gallery Espace, New Delhi. (2003)
  • Free Radicals, Melbourne Underground Film Festival, also curator of: “Low-fi Video, International Selection, Belgrade 1999-2002”, Loop. (2003)
  • Insert New Image Here, Soho in Otterkring Festival, Vienna. 2002)

Media Appearances

  • Marianne North: Victorian Plant Hunter,Smithsonian Channel and BBC, Blink Films.
  • NYT, ABC, RBB, WDR.

International Conferences Convened

  • "Art History in Settler States: Cultural Studies of the Colonies", Barber Institute, University of Birmingham. (2017)
  • The Clark Art Institute, Massachusetts, colloquium co-convenor, “Challenging Art History in Settler Colonial Societies”. (2016)
  • Oxford University, Ruskin School of Art, “Border Control: The carceral aesthetics of artists in immigration detention”, May 23. (2016)
  • University College London, conference co-convenor, “Economic Botany: Walking Kew Gardens”. (2014)
  • Cambridge University, conference co-convenor, “Beyond the White Cube”. (2013)

Selection of International Invited talks

  • University of Oslo, Global Traces: art-ethnography-heritage conference keynote. (2019)
  • The Darwin College Lecture, Cambridge, "Art and Migration", major public keynote. (2018)
  • The British Museum, Exhibiting Empire, "We have never been pre-Empire, keynote. (2018)
  • University of Birmingham, Art on Move conference keynote. (2018)
  • LASALLE Singapore, seminar paper and workshop on art-research (2018)
  • University of Cologne. Keynote Lecture at Making and Breaking Chains of Value conference. (2017)
  • The Royal Society, London, "The Sartorial Science of Sir Joseph Banks", conference paper. (2017)
  • Institute of Historical Research, Kings College London, "After Empire", paper. (2017)
  • University of the Arts Helsinki, "contingent agencies", conference keynote. (2017)
  • Central European University, "Vegetal Mediations: Plant Agency in Contemporary Art and Environmental Humanities". conference paper. (2017)
  • European Congress on World and Global History, invited keynote. (2017)
  • IFA Gallerie Berlin, "Traces, Legacies, and Futures: (De)colonial Temporalities", invited lecture. (2017)
  • Kings College London, Menzies Center, "Global Art History" Bernard Smith book launch. invited lecture. (2017)
  • LaSalle and National Museum of Singapore, artist talk and Third Text Forum host. (2017)
  • Hay Festival, invited reading, book launch and discussion (2017)
  • State Theatre of Switzerland, Bern, invited talk after premier of play 'Shadows Talk' (2017)
  • Senate House London, History Seminar Series, invited lecture. (2017)
  • Williams College, Massachusetts, “Indigeneity, Racialization, Nationalism, Historiographies and Settler Subjectivities”, with Damian Skinner, Anne Whitelaw, Kristina Huneault, Lize van Robbroeck, Bill Anthes, Clark Colloquium “Challenging Art History in Settler Colonial Societies” papers. (2016)
  • University of Queensland, Daphne Mayo named lecture. (2016)
  • Institute of Contemporary Art Brisbane, invited talk and screening. (2016)
  • University of Queensland Museum, invited lecture. (2016)
  • Gallery Kalahan, Indonesia, invited lecture. (2016)
  • Goldsmiths, Anthropology Research Seminar, “Repatriation and Disalienation: Art-research on the return of cultural property” invited lecture. (2016)
  • Central St Martins and LUX London, “Immigration Detention and Other Fictions of Security”, invited lecture. (2016)
  • UCL and Calvert22 Gallery, London, “Appropriating Universal Centrality: Containing the World in Berlin’s new Humboldt Forum” with Jonas Tinius, conference paper. (2016)
  • Monash University, Melbourne, “Impacts of Border Control”, Leverhulme Network Conference paper. (2016)
  • Stellenbosch University, South Africa, Faculty of Arts and Social Sciences, Department of Visual Arts lecture series (2016)
  • Holocaust and Genocide Centre Johannesburg, South Africa. (2016)
  • Bonn University, Germany, “What is Nazi Loot to Postcolonial Repatriation Claims?” Table talk at “Whose Heritage?” conference (2016)
  • University College London, “Passionate Politics”, workshop contribution. (2015)
  • Australian Institute of Art History, “Restoration: The scientific and the affective dimensions of repatriation”, invited lecture. (2015)
  • University of Sydney, “Art in the Time of Colony”, Power Institute for Art & Visual Culture, guest lecture and book launch. (2015)
  • British Museum, “Who Owns Culture?”, Podium discussion as part of This Way Up Festival. (2015)
  • Australian National University, “The Importance of Being Anachronistic”, Museums and Heritage lecture series (2015)
  • Queen Mary University, Centre for Studies of Home, Senate House London, “Dissident domesticity: an ethnographic conceptualist approach to house arrest”, lecture series. (2015)
  • Cambridge University, Centre for Research in the Arts, Social Sciences and Humanities, “The Politics of Framing and Staging”, conference keynote. (2014)
  • Manchester University, “Cloakroom: Textiles as a postcolonial strategy in contemporary art” Whitworth Art Gallery “Tuesday Talks” Artists’ lecture series. (2014)
  • Weltmuseum, Vienna, “Wo liegt die Zukunft für Ethnographische Museen?” Podium discussion (2014)
  • University of Toronto, “Colony and the Curatorial”, Launch of Art in the Time of Colony, by Wanda Nanibush and Charles Stankievich (2014)
  • Concordia University Montreal, “Settler Colonial Art History”, panel discussion (2014)
  • Haverford College, USA, “(Ir)reverence”, conference presentation (2014)
  • Kings College London, “Art in the Time of Colony”, book launch with Richard Drayton (2014)
  • Potsdam University, Berlin, Postcolonial Justice, “Other Hostages: Postcolonial justice and the politics of repatriation”, Conference paper and publication (2014)
  • Savvy Contemporary Berlin, Giving Contours to Shadows, “Fleshing the Archive: Performance/Orality/Embodiment of History”, Conference paper. (2014)
  • Royal Academy of Art and Sketch London, “Exhibition Histories”, Guest Lecture. (2013)
  • PAN - Perspektiven auf Natur, Museum für Naturkunde, Leibniz-Institut für Evolutions- und Biodiversitätsforschung, “Perspektiven auf Natur in Wilhelm von Blandowskis Australien in 142 photographischen Abbildungen von 1862”, Conference Paper. (2013)
  • 1001 Leichhardts, International Conference, Potsdam University, “Re-enacting Leichhardt”, paper and performance. (2013)
  • The Institute of Historical Research, Senate House London, “Anachronism: Classification and Display in Nineteenth Century Colonial Collecting and Contemporary Museum Practice”, Invited lecture in the seminar series at the University of London on Collection and Display. (2013)
  • Australian National University and National Museum, Selling Yarns: Weaving the Nations Story, “The Making of Skins Cloak”, with Vicki Couzens and Lee Darroch, Conference Paper. (2013)
  • Marrakech Biennale Literature Festival, Morocco, Can We Ever Be Modern?, Paper and Panel discussion chaired by Pankaj Mishra (2012)
  • Cambridge University, Witnessing War, “If you fight the dragon long, the dragon you become: Comments on Monuments in the Balkan”, Conference Paper and film screening. (2012)
  • Henry Moore Foundation, Launch of Sculpture in the Museum book and reading. (2012)
  • British Museum London, John Sloane Project, invited speaker. (2012)
  • Monash University, Italy, “Indigenous Networks and ‘Transnational’ Cultures”, Conference paper. (2012)
  • Deutsches Museum Munich, Anthropocene Project, “From Research to Exhibition Making”, Lecture. (2012)
  • Centre for Research in the Arts, Social Sciences and Humanities Cambridge, Charting Vanishing Voices: A Collaborative Workshop to Map Endangered Oral Cultures, “No-No and Permissions to Map”, Conference Paper. (2012)
  • Corpus Cristi College Cambridge, Poets Meeting, “Selection of recent poems”, reading and screening. (2012)
  • The History and Philosophy of Science Department, University of Cambridge, “Colonial Classification”, Senior Seminar paper. (2012)
  • The Courtauld Institute of Art, “Living Monuments”, guest lecture. (2012)
  • World Textile Association Biennale Conference, Xalapa Mexico, “The Vienna Zocalo”, Conference paper. (2011)
  • Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra, “Visual and Verbal Taxonomy”, Seminar and Workshop. (2011)
  • Academy of Fine Arts Vienna, “Who is Performing Art? Performing Viewers 1960-2010”, This Sentence is Already Being Performed, Symposium. (2010)
  • Academy of Fine Arts Vienna, Monica Bonvicini master class lecture series, “Meta-artists‘ Talk”. (2010)
  • Berlin Biennale, Watchtower Schlesischer Busch, Panel: "Phantasmagorias of History", moderated by Svetlana Boym, Harvard University. (2010)
  • The Glassell School of Art, Houston, Guest Lecture: "Colonial Conceptualists: How Museums shift from Objects to Projects through Global Contemporary Arts". (2009)
  • Marfa Book Co. & The Chinati Foundation, Texas, Poetry Reading: "The Museum in a Book". (2009)
  • American University, Katzen Center for the Arts, Washington DC, Lecture Series: "Along with the Whale: Histories of Art Trade from Australia to the US". (2009)
  • University of East Anglia, UK, Sainsbury Research Center for World Art, Guest Lecture: “Under-drawing: A History of Drawing across Cultures”. (2008)
  • Kluge-Ruhe Museum Aboriginal Art Collection, University of Virginia, Guest Lecture: “A History of Telling in Silhouette: Race, Euphemism and Empire”. (2008)
  • University of California Los Angeles, Department of Art History, Guest Lecture: “Internationalism & Exhibiting”. (2007)
  • Harvard University, Conference: “Conflicts and Entanglements,” Lecture: “Space to Wonder at Incommensurable Curiosities: The Colonial Phenomenology of Recombinant Hybridity”. (2007)
  • Columbia University, School of International and Public Affairs, Conference: “Europe Lost and Found,” Lecture: “The Lost Highway from Greece to Sarajevo via Macedonia, Albania and Montenegro”. (2006)
  • Massachusettes Institute of Technology, Center for Advanced Visual Studies, Conference: “Archives and the Lost Highway Expedition,” Lecture: “Artists as Criminals against Essentialism: mapping ‘Nationhood’ in the Western Balkan”. (2006)
  • Otago University, New Zealand, Conference “On Space”, Lecture: “Language and Imaginary Space in the Performance of Ekphrasis”. (2005)

 Lecturing

  • University of Birmingham. Global Art and Cultural Studies; Art and Law UG and MA; American Art in the 1960s UG. (2016-2018)
  • University of Cambridge. Undergraduate lectures given on ‘The Display of Art: The Politics of Display’, and ‘Modernism, Postmodernism and After’, and the M.Phil course ‘Word and Image’.(2010-2015)
  • University College London, Contemporary Art. Taught, redesigned and co-ordinated Second year art history module “Methodologies of Making”. (2015)
  • Global Environments Summer Academy, The Rachel Carson Center, Ludwig Maximilian University of Munich and Center of Environment in the University of Bern. Design and teach three-week courses for international group of 20 on issues related to the environment. I give lectures, lead excursions, practical exercises and final presentations. (2012-14)
  • Academy of Fine Arts Vienna, Lecturer for courses in “Race and Gender in Display”; “Textile as (post)colonial strategy”; “Fieldwork and Research”; “Vienna Zocalo”. Developed syllabi for and taught these topics as seminars, lecture courses, and led class excursions. (2009-11)
  • Technical University, Berlin. Wissenschaftlicher Mitarbeiter / Teaching Assistant: “Bildende Kunst und Architektur”. I taught and contributed to design of the First Year core survey for 250 students in Art and Architecture. (2010)

Seminars and Small Group Tutorials

  • University of Birmingham. Criticism and Methods MA; Theorizing Exhibitions. MA; PhD candidate supervision. (2016-2018)
  • University of Cambridge. Supervising BA, M.Phils and PhDs students in Art History, Architecture, Social Anthropology, and History of Science. Small group teaching in the museum and at the Pembroke College Social Sciences seminars. PhD workshops in the History and Philosophy of Science department. (2010-2014)
  • Harvard University, Cambridge, Teaching Fellow for the Undergraduate program in the History of Art and Architecture: “Monuments of World Art and Architecture”. Taught for a class with over 360 students, marked class assignments and some course examinations. Prepared the section on the politics of museum display in the Peabody Museum. (2007)
  • Harvard Graduate School of Design, teaching and research assistant in Landscape Design History for Prof. Dorothee Imbert, organized and presented course material in seminars to 20 Master of Landscape Design and History students. (2005 – 6)

Publications

Books

  • Art in the Time of Colony, (London: Ashgate Press, 2014).
  • Bordered Lives (Berlin: Sternberg Press, 2018) in press.
  • Fragile Crown: Empire, Collection, Restitution, (Chicago University Press); forthcoming 2019

Special Journal Issues and Books Edited

  • Botanical Drift: Protagonists of the invasive herbarium, Berlin: Sternberg Press, 2017.
  • Artist and Empire, Third Text journal forum, 2017.
  • The Importance of Being Anachronistic:  Contemporary Aboriginal Art and Museum Reparations, Discipline journal with Third Text publications, 2016.
  • The Vienna Zocalo, Vienna: Academy of Fine Arts Press, 2012.

Articles in peer-reviewed journals

  • 'The Senses, Presences and Beliefs in Indigenous Art History: Towards a recognition of non-Western historiography and methodology', with Damian Skinner in Furthering, nurturing and futuring Global Art Histories, special issue of Kunstlicht, 2018.
  • ‘Art and Criminology of the Border: The making of the immigration detention archive’, with Mary Bosworth, Oxford Artistic and Practice Based Research Platform, April 2017.
  • ‘The Art of Dissident Domesticity: Julian Assange, King Prempeh and the Prison House’, with Jesse Shipley and Michal Murawski, Social Text, 133, 35, 4, (2017), pp. 113-152.
  • ‘Censorship and X-Ray of Malevich’s Black Square, 1915’, Third Text special issue on Decolonizing Colour, Natasha Eaton (Ed.), with Dina Gusjenova, 2017. Forthcoming.
  • ‘North and NonWest: Marianne North and William Colenso's responses to plantlife and the classification of economic botany’, Third Text journal special Issue on 'The Wretched Earth: Botanical Conflicts and Artistic Interventions', Shela Sheikh and Ros Gray (Eds), 2018.
  • ‘Sartre’s Boomerang: The Archive as Choreographed Readymade’ in: The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations, special issue of Discipline, Khadija von Zinnenburg Carroll (ed.), 2016.
  • ‘Anachronismus oder Vitrinendenken’, Floorplan, online journal, (2015).
  • ‘The Presence of Absence: Tommy McRae and Judy Watson in Australia, the imaginary grandstand at the Royal Academy in London’, World Art Journal, 4.2, (2014).
  • ‘What would Indigenous taxonomy look like? The case of Wilhelm von Blandowski, Arcadia, online journal (2014).
  • ‘Fight the dragon long, the dragon you become: Performing Viewers in the Graffiti Monument’, Laboratorium, 2 (2013) 101-127.
  • ‘…(excerpting collections) from a history of interventions’, On Curating, 12 (2011), 20-24.
  • ‘The Very Mark of Repression: The Dismantling of the Palast der Republik and the New Schloss Berlin’, Architectural Design Journal, (Sept. 2010), 10-18.
  • ‘Humboldt's Meal Micropolitics: Exploring Ethico-Aesthetics’, Inflexions, 3 (2009)
  • ‘Re-membering the Body: J.J. Winckelmann’s Ekphrasis’, Word & Image Journal of Verbal and Visual Inquiry, 21/3 (2005) 261-269.

Book Chapters

  • ‘Painting the Political in Oceanian Textile Cultures: Collectivity, syncretism and globalization’, in J. Harris (ed.), A Companion to Textile Culture, (Oxford: Wiley-Blackwell, 2019). In press. 
  • 'Art and Migration: On the Power of Movement', Migration: Darwin Lecture Series, Cambridge: Cambridge University Press, 2018. In press. 
  • ‘The Aesthetics of Classification Indigenous Classification and Enlightenment’s Taxonomy. Wilhelm Blandowski’s Encyclopaedia of Australia (1849–1859)’, in N. Zschocke (ed.), Productive Universals - Specific Situations. Analysis and Intervention in Art, Architecture and Urbanism, (Berlin: Sternberg, 2018) In press. 
  • Appropriating Universal Centrality: Containing the World in Berlin’s new Humboldt Forum,in The (City) Centre Cannot Hold? New Monumentality, Neo-Modernity and Other Zombie Urban Utopias, UCL Press, 2018. In press. 
  • Theatrum Botanicum, (Berlin: Sternberg Press, 2018), pp.
  • ‘The Inbetweenness of the Vitrine: Three Paraerga of a Feather Headdress’, P. Basu (ed.), The In-Betweenness of ThingsMaterialising Mediation and Movement between Worlds ~ A Cabinet of Curiosities ~, (London: Bloomsbury, 2017) pp. 25-45. 
  • ‘Anachronically Archived: Time in Contemporary Art’, in I. McLean and Darren Jorgenson (eds.), The Archival turn in Australian Aboriginal art, (Perth: University of Western Australia Press, 2016) pp. 342-361.
  • ‘Introduction’, and chapter ‘Marianne North, William Colenso, and Economic Botany at Kew’, Botanical Drift: Economic Botany and its Plant Protagonists, (Berlin: Sternberg, 2017).
  • ‘Ready-mades for repatriation, poetic re-enactments, and comic performances for the camera’, Julie Gough, in Terri Ann White (ed.), (Perth, University of Western Australia, 2016).
  • ‘Living Paint, even after the death of the colony’, in Mihnea Mircan (ed.), Allegory of the Cave Painting, (Milan, Mousse Press, 2015).
  • ‘Object to Project: Artist’s Interventions in Museums’, in: Christopher Marshall (Ed.), Sculpture in the Museum, (Farnham, Ashgate Press, 2012), 216-239.
  • ‘Curating Curiosity: Wonder’s Colonial Phenomenology’, in: Timothy Mehigan (Ed.), Frameworks, Artworks, Place: The Space of Perception in the Modern World, (Amsterdam, Rodopi Press), 2008, pp. 203-225.

Contributions to conference proceedings

  • Leichhard. 'Immigrate into your Shadows (or the border will eat us)', Proceedings of the 9th SAR - International Conference on Artistic Research, Anya Lewin (Ed.), April 11th - 13th 2018, University of Plymouth, UK.'Wilhelm von Blandowski und der Versuch, indigenes Wissen von Australien zu verbildlichen', Whose Heritage?, Anne-Marie Bonnet and Floorplan (Eds.), (Munich: Autopress, 2017), pp.126-163.

  • ‘Partially Proclaimed: Pictographic Law in the 1830 Tasmanian Picture Board’, Postcolonial Justice, (Wissenschaftlicher Verlag Trier, 2016) pp. 73-90.
  • ‘Vitrinendenken: Vectors between Subject and Object’, in: G. Ulrich Großmann and P. Krutisch (eds), The Challenge of the Object, Congress of the International Committee of the History of Art, (Nuremberg: Germanisches National Museum, 2013)

  • ‘Wer performt Kunst? Die performenden Betrachter Innen’, This Sentence is Now Being Performed, (Vienna: Akademie Der Bildenden Kunst, 2010), pp. 31–5.

  • ‘Small Mirrors to Large Empires: Towards a Theory of Meta-museums in Contemporary Art’, in Jaynie Anderson (Ed.), Crossing Cultures, Economies of desire: art collecting and dealing across cultures, Proceedings of the 32nd Congress of the International Committee of the History of Art (CIHA), (Melbourne: Melbourne University Press, 2009), 1012-1017.

Critical essays and reviews

  • Sovereignty: Indigenizing and Decolonizing curatorial practise, Art Monthly, December 2016, pp. 36-39.
  • Everywhen: Interview with Stephen Gilchrist at Harvard Art Museums, Art Monthly, September 2016
  • Appropriating Universal Centrality: Containing the World in Berlin’s new Humboldt Forum,Calvert Journal, May 2016. Online
  • My Big Ugly Art World: Grayson Perry on Aboriginal art and how to be undiplomatic in the history wars, Art Monthly, November 2015, pp. 38-41.
  • Being in Detention: Media Arts at Colnbrook IRC. Border Criminologies, Oxford University, (2015). Online
  • Australia by Wilhelm von Blandowski, Australian Aboriginal Studies Journal (Canberra: Australian Aboriginal Studies Press, 2012), 1, 105-108.
  • The Object as Subject: dOCUMENTA 13, Artlink (Adelaide: Artlink, 2012), 32, 81-85
  • Breaking with Tradition, Artlink Indigenous, (Adelaide: Artlink), June 2011.
  • Documentary as Evidence?, In: Kaleidoscope, Ed. Joanna Fiduccia, 8, (Milan: Kaleidoscope, 2010).
  • Culture Warriors, In: Blak on Blak Artlink, Vol. 30, 1, (Adelaide: Artlink, 2010), 112-115.
  • Within Without: Elisabeth Weissensteiner, Sculpture, 24, 3, (2015). Online

Exhibition catalogues

  • Bataille, Nieztsche, Clemens Wild: Portraits des Innenlebens als soziale Kritik, in: Clemens Wild: Outsider Artist, (Milan: Bolo Papers, 2016).
  • Ore Black Ore, in: Allegory of Cave Painting, (Extracity Kunsthal, Antwerpen, 2014).
  • The Artist as CV, in: Super Vero, (Vienna: Academy of Fine Arts, 2013).
  • The Rise and fall, in: Chan, Carson and Nadim Samman (eds), Higher Atlas/Au-delà de l’Atlas,  (Berlin: Sternberg Press, 2012) 313-336.
  • Kranich Museum, (Hessenburg: Kranich Museum, 2011).
  • Le Musée comme la Silhouette, in: Jean-Charles Agboton-Jumeau (Ed.), Exposition 5-31 Janvier 2009, (Cherbourg-Octeville: Ecole des beaux-arts de Cherbourg-Octeville, 2009), 22-29.
  • Europe Lost and Found, in: Basekamp (Ed.), Plausible Artworlds, (Philadelphia: Institute of Contemporary Art, 2007), 6-8.
  • Living Monuments, in: Mihnea Mircan (Ed.), Memosphere: Rethinking Monuments, (Venice Biennale: Revolver Press, 2007), 4-6. Also published in an installation titled Living Monuments + Track Changes, in: Lost Highway Exhibition, (Ljubljana: Skuc Gallery, 2007), 10-12.
  • 6: Six artists from the MIT visual arts program, (Cambridge, MIT Centre for Advanced Visual Studies and Space Other Gallery Boston, 2006).

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