The Machine that Kills Bad People
A bi-monthly film club at ICA, London, organized together with Maria Palacios Cruz, Beatrice Gibson, and Ben Rivers.
Septmber 2021: Alice Rohrwacher’s Corpo Celeste (2011) and Nina Danino’s Stabat Mater (1990). Commissioned essay by Andréa Picard.
April 2020: Alanis Obomsawin’s Incident at Restigouche (1984) and Sandra Lahire’s Serpent River (1989). Commissioned essay by Tendai Mutambu.
January 2020: Friedl vom Gröller’s Photo Session (2010) and Claudia Weill’s Girlfriends (1978). Commissioned essay by Courtney Duckworth.
November 2019: Angela Schanelec's Places in Cities (1998) and Alexandra Cuesta's Piensa in mí (2009). Commissioned essay by Daniella Shreir.
September 2019: Cheryl Dunye’s The Watermelon Woman (1996) and Shai Heredia and Shumona Goel’s I am Micro (2012). Commissioned essay by Jemma Desai.
July 2019: Samira Makhmalbaf’s Blackboards (2000) and Forough Farrokhzad’s The House is Black (1962). Commissioned essay by Sara Saljoughi.
June 2019: Babette Mangolte’s The Sky on Location (1982) and Deborah Stratman’s O’er the Land (2009). Presented at Sheffield Doc/Fest. Commissioned essay by Erika Balsom.
May 2019: Peggy Ahwesh’s Martina’s Playhouse (1989) and Doris Wishman’s Nude on the Moon (1961). Commissioned essay by Ara Osterweil.
March 2019: Margarethe von Trotta’s The German Sisters (1981) and Joyce Wieland’s Rat Life and Diet in North America (1968). Commissioned essay by Lucy Reynolds.
January 2019: Where I am is Here (shorts programme). Commissioned essay by Genevieve Yue.
November 2018: Larisa Shepitko’s The Ascent (1977) and Ute Aurand/Ulrike Pfeiffer’s Umweg (1983). Commissioned essay by Laura Staab.
September 2018: Claire Denis’s Nénette et Boni (1996) and Mati Diop’s Big in Vietnam (2012). Commissioned essay by Leo Goldsmith.
July 2018: Anocha Suchwichakornpong’s Mundane History (2009) and Mary Helena Clark’s The Dragon is the Frame (2014). Commissioned essay by May Adadol Ingawanij.
May 2018: Barbara Loden’s Wanda (1970) and Laida Lertxundi’s Cry When It Happens (2010). Commissioned essay by Elena Gorfinkel.
Peggy Ahwesh: Vision Machines
Co-curated with Robert Leckie
Spike Island, Bristol; 25 September 2021 – 16 January 2022
Co-curated with Grégory Castéra (Council) for the Taipei Biennial, “You and I Don’t Live on the Same Planet,” curated by Martin Guinard and Bruno Latour, 21 November 2020 – 14 March 2021
Peggy Ahwesh, Karimah Ashadu, Joshua Bonnetta, Edith Dekyndt, Maya Deren, Patricio Guzmán, Sky Hopinka, Hu Tai-li, Johan van der Keuken, Rebecca Meyers, Carlos Motta, Beatriz Santiago Muñoz, Thao Nguyen Phan, Jessica Sarah Rinland, Ben Rivers, Francisco Rodriguez,Tsuchimoto Noriaki, and Zhou Tao
An Oceanic Feeling
Punto de Vista – Festival Internacional de Cine Documental de Navarra, Pamplona, Spain; 2–7 March, 2020
Peggy Ahwesh, CAMP, Vittorio De Seta, Mati Diop, Jean Epstein, David Gatten, Peter Hutton, Louis Lumière, Rebecca Meyers, the Otolith Group, Jean Painlevé, Lois Patiño, Noriaki Tsuchimoto
Prophecies for the Second Machine Age
Online exhibition for Kadist Art Foundation in collaboration with VIDEOCLOOP
11 March to 11 April 2019
Pedro Neves Marquez, Nira Pereg, Mary Helena Clark, Diana Fonseca Quiñones, and Beatriz Santiago Muñoz
Truth or Consequences
CIRCUIT Artist Film and Video Aotearoa New Zealand 2018 Commissions
Andrew de Freitas, Jeremy Leatinu'u, Vea Mafile`o, Janine Randerson, and Bridget Reweti
An Oceanic Feeling
Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand; 4 August – 18 November 2018
Peggy Ahwesh, Noël Burch and Allan Sekula, CAMP, Filipa César and Louis Henderson, Mati Diop, Maddie Leach, Rebecca Meyers, The Otolith Group, Francisco Rodriguez, Philip Scheffner, and G. Anthony Svatek.
Birkbeck Institute of the Moving Image, London; 17–18 February 2017