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Templates for Liberation has been published to accompany the exhibition of the same name by Rheim Alkadhi, held at the Institute of Contemporary Arts in London. OO Lyga – released by Outline Online, designed by Samira Schneuwly – is the typeface throughout the publication. F

Alexandra Lamy, actrice de 54 ans, a débuté 2026 sur les chapeaux de roues après une année 2025 qualifiée de « complètement dingue », entre sorties cinéma et no

Alexandra Lamy, actrice de 54 ans, a débuté 2026 sur les chapeaux de roues après une année 2025 qualifiée de « complètement dingue », entre sorties cinéma et no

Artist Rheim Alkadhi said she'll withdraw her solo show if the organization fails to respond to the allegations with "disclosure and accountability."

この作品 「bocchi」 は 「bocchitherock」「ぼっちざろっく」 等のタグがつけられた「rheim」さんのイラストです。

Contributed by Outline Online _ICA London/Samira Schneuwly. License: All Rights Reserved. _ Templates for Liberation has been published to accompany the exhibition of the same name by Rheim Alkadhi, held at the Institute of Contemporary Arts in London. **OO Lyga** – released by Outline Online, designed by Samira Schneuwly – is the typeface throughout the publication. From ICA Bookstore: > ICA, 2024, Softcover, 120 pages, 25 × 18 cm > > Contributions by Rheim Alkadhi, Kali Rubaii, Françoise Vergès, Ayreen Anastas, Rene Gabri, Ann Bragdon, Andrea Nitsche-Krupp […] > > This publication presents the perspectives of five contributors who consider this present moment. The first contribution is from the artist, who weaves the themes of her exhibition in and out of time and place with poetic deliberation and no loss of nerve. Kali Rubaii proposes templates for resurgency from Anbar, Iraq, through a consideration of the material realities of home and self-determination in the face of unrelenting devastation. Françoise Vergès deftly identifies the forces of oppression, spelling out the template in her text, ‘There will be nothing like peace until we abolish racial patriarchal capitalism’. Ayreen Anastas and Rene Gabri generously welcome the reader into their epistolary text, ‘Dear Rheim’, the format and urgency of which channel disparate notes of resistance across the world. Each text herein embraces the utilitarianism of the template project: radicality, the authors make plain, is utterly reasonable. Documentary photographs taken by Ann Bragdon, Alkadhi’s mother, inIraq in the 1970s provide an intimate perspective on the region. They also offer a visual cue that liberation knows no temporality, affirming a statement in Alkadhi’s text that might serve as an apposite subtitle for this volume: ‘Time and place determine the intersection of our mutual resolve: a growing collectivity that outlasts this transitioning increment.’ > > > _ICA London/Samira Schneuwly. License: All Rights Reserved. _ _ICA London/Samira Schneuwly. License: All Rights Reserved. _ _ICA London/Samira Schneuwly. License: All Rights Reserved. _ _ICA London/Samira Schneuwly. License: All Rights Reserved. _ _ICA London/Samira Schneuwly. License: All Rights Reserved. _ _ICA London/Samira Schneuwly. License: All Rights Reserved. _ This post was originally published at Fonts In Use * * *