Alex Martinis Roe is an artist researching genealogies of feminist political practices of difference. Her projects seek to foster solidarity between different positions and generations as a way of participating in the construction of cultures of difference. She makes film installations, publications, workshops and dialogic public events using transdisciplinary methods that combine writerly, performance and filmmaking methods with feminist and decolonial historiography, ethnography, and political organising.
Exhibitions include: Storytelling Liberation, La Trobe Art Institute, Bendigo (collaborative solo, 2025) and part of the same project featured at Transmediale, Berlin (2025); Dancing in the Blind Spot, Villa Romana, Florence (2025); There are other skies: an international lineage of feminist art practices, Scottsdale Museum of Contemporary Art, Arizona (2025); Protest is a Creative Act, Museum of Australian Photography (2025); The Daughters’ Trilogy: Chapter 1: Matriarchy, Taxispalais – Kunsthalle Tirol (2024); Transfeminisms, Mimosa House, London (2024); Coming Home, Perth Institute of Contemporary Art (solo, 2021-22), Unlearning Australia, Seoul Museum of Art, Seoul (2021-2022); 1 Million Roses for Angela Davis, Albertinum, Dresden (2020-2021); Alliances, GfZK – Museum of Contemporary Art, Leipzig (solo, 2018), Fabriques de contre-savoirs, Frac Lorraine, Metz (2018) and Sex, Taxispalais – Kunsthalle Tirol (2018). Her project To Become Two (2014-2018) was co-commissioned as a series of solo exhibitions by If I Can’t Dance (Amsterdam), Casco Art Institute (Utrecht), The Showroom (London) and ar/ge kunst (Bolzano) and has also been exhibited at Badischer Kunstverein (Karlsruhe) and Samstag Museum (Adelaide). In 2018, To Become Two was presented at the Centre George Pompidou, Paris and was the recipient of the Kunstpreis Europas Zukunft [Future of Europe Art Prize] and Archive Books (Berlin, Milan, Dakar) published her monograph To Become Two: Propositions for Feminist Collective Practice.
Alex is a former fellow (2013-2016) of the Graduate School, University of the Arts Berlin and holds a PhD (2011) from Monash University, Melbourne. She is Senior Lecturer in Art and Head of Drawing and Printmaking at the Victorian College of the Arts, the University of Melbourne, Australia. More details here
Adele Patrick has been developing innovative cultural projects rooted in equalities and in academic research and community learning and teaching for over 30 years. Adele co-founded Glasgow Women’s Library (GWL) in 1991 and is currently a co-Director. She has had a key leadership role in GWL which has grown from a grassroots project led by volunteers into a Recognised Collection of National Significance, the sole accredited museum dedicated to women’s history in the UK and an influential, change making organisation in the Museums, Library and wider cultural sectors.
Trained as a designer at Glasgow School of Art (where she subsequently taught Gender, Art and Culture) Adele has been active in many projects as a curator, programmer, co-producer at GWL and in independent work as a facilitator, writer, coach, creative and trainer on EDI and values led cultural leadership. A collaborator with writers, visual artists, filmmakers, architects and performers, Adele was awarded an Engage Scholarship for Excellence in Gallery Education in 2016 and was a Clore Leadership Fellow in 2018/2019. She is a member of the Women Leaders in Museums Network, sits on the Board of V&A Dundee and the EDI Advisory Group for Creative Scotland. In her independent practice Adele is a coach, mentor, consultant, and trainer specialising in feminist leadership and governance and values lead leadership in cultural organisations. More details here
Allison Elliott is a digital archivist and archival producer with a focus on queer and feminist culture. She holds a deep commitment to exploring the archive as a dynamic source of creative material and a platform for information activism. She currently serves as the Archives and Programs Manager at The Feminist Institute, where she oversees content partnerships, curates digital collections, and spearheads TFI’s annual Pop-Up Memory Lab. To date, the Memory Lab has digitized over 2,500 materials, supporting nearly 75 feminist artists, activists, and media-makers. Within this initiative, Allison has organized four workshops on topics ranging from personal digital archiving and tape digitization to the ethics of digitization and building feminist legacies. The 2024 Memory Lab introduced a new Creative Archival Works Showcase, featuring four short films that incorporated archival materials into their narratives. In addition, Allison has contributed to the re-presentation of The Dyke Show with Joan E. Biren as a research and archival producer. Allison’s research interests span feminist and queer information networks and activism, feminist citationality, HIV/AIDS activism, and community archives.
She holds an MA in Media Studies and Social Justice from CUNY Queens College, where her work focused on information activism, counter-archives, and queer and trans histories in the 20th and 21st centuries. She also earned a Certificate in Interactive Technology and Pedagogy from the CUNY Graduate Center, enabling her to develop digital archival education initiatives. In 2018, she received a BA in Gender Studies from Mount Holyoke College, which has continued to inspire and ground her work in feminist and queer history and archival practices. More details here
Matylda Taszycka is Head of Research Programmes for AWARE: Archives of Women Artists, Research and Exhibitions, Paris. AWARE is a non-profit organisation, co-founded in 2014 by Camille Morineau, art historian and specialist in the history of women artists. Its goal is the creation, indexation and distribution of information on women artists of the 16th to 21st centuries: “I have created AWARE: Archives of Women Artists, Research and Exhibitions in 2014, so that we could rewrite art history from a more gender-equal perspective.
AWARE represents a diversity of voices, with texts written by over 500 researchers, curators, feminist art historians, art critics and activists from all over the world. This website’s database brings together women and non-binary artists born between 1664 and 1975 working in the visual arts, with no limitations on medium or country. Research articles and interviews allow for a deeper understanding of these artists’ careers and works by contextualising them within larger artistic movements, societal changes and feminist thinking. The site is aimed at art professionals and educators, as well as anyone interested in the history of art. More details here
Êvar Huseynî is a Kurdish artist and archivist whose experimental work moves between text, film and photography. Her work explores how archives shape Kurdish identity formation, solidarity building, liberation tactics, and how communities resist erasure through their own forms of remembering. Êvar’s practice is grounded in the quiet gestures of collecting, annotating, and sharing knowledge, often with attention to the intimacies that formal archives overlook. She asks what role archives might play in shaping freedom – specifically that of occupied people and lands. The West Asian and North African Women’s Art Library (WANAWAL), founded by Êvar in 2019, is an experimental community archive based at Somerset House Studio’s dedicated to WANA feminist thought, art, and literature. In carefully growing the library and the practice that guides the WANAWAL approach, WANAWAL has been able to reach a place of experimentation and adaptation to nurture ideas around collective memory as a liberation practice. More details here
Éireann and I Archive (Beulah Ezeugo & Joselle Ntumba) is a community archive and memory work platform dedicated to chronicling stories of Black life in Ireland. Initiated and led by Beulah Ezeugo and Joselle Ntumba, the project creates spaces for migrants to engage with archives and explore practices of memory work through participatory workshops, publications, and installations. Recent initiatives include residencies and exhibitions at EVA International (Limerick), The Museum of Everyone (Roaming), Galway Arts Centre (Galway), Douglas Hyde Gallery (Dublin), and The Luan Gallery (Athlone). More details here
Beulah Ezeugo is a curator and writer, and when it feels right, an artist. Her practice engages with postcolonial geographies and memory, and expands outward through writing, exhibition-making, and public programming.
Joselle Ntumba is a Black cultural worker and producer. Informed by Black feminist knowledge, her practice engages with migration, diaspora and memory expressed through exhibition making and public programming.
Moderator / Researcher / Convenor
Alessia Cargnelli is a visual artist and researcher based in Belfast, north of Ireland, and currently Research Ireland Enterprise Post-Doctoral Fellow at the Irish Museum of Modern Art (IMMA) and the National College of Art and Design (NCAD), in consultation with the National Irish Visual Arts Library (NIVAL). Alessia is a former co-director of the artist-led initiative Catalyst Arts Gallery (2016-2018). She completed a BFA with Hons in Visual and Performing Arts at IUAV University and a MA in Contemporary Art History at Ca’Foscari University in Venice, Italy. In 2024 she completed her doctoral research at the Belfast School of Art, with research on feminist-led women-artists’ advocacy groups connected with the island of Ireland.
In 2023, Alessia was appointed post-doctoral researcher at the National Irish Visual Arts Library (NIVAL), based in NCAD; with a pilot project focused on expanding underrepresented categories in the library’s collections. Along with artist Emily McFarland, she is co-founder of the feminist-led artist-run initiative Soft Fiction Projects (2018-ongoing). Alessia is also a member of Array Collective, a Belfast-based group who, since 2016, creates collaborative actions in response to the socio-political issues affecting the north of Ireland. Array Collective was the winner of the 2021 Turner Prize.
