Book your free ticket for this special poetry book launch with NTU’s Linda Kemp and Andrew Taylor.
Join us for the launch of two new poetry books — The Moral Theology of the Devil / Clothed with the Sun by Linda Kemp (Research Fellow at NTU) and State Honey by Andrew Taylor (Senior Lecturer in Creative Writing at NTU), both published by Leafe Press.
We’ll have complimentary coffee and pastries available. Leafe Press will present a dedicated stall featuring poetry books from their own publishing catalogue. This event is also an opportunity to catch Bonington Gallery’s exhibitions by Naeem Mohaiemen and John Dean which conclude on the same day.
Linda Kemp’s poetry books are: The Moral Theology of the Devil / Clothed with the Sun (Leafe Press, 2025), Annunciation Sonnets (Broken Sleep Books, 2024), Stitch (Contraband, 2020), and Lease Prise Redux (Materials, 2016).
Andrew Taylor has published four collections of poetry with Shearsman Books. He’s published a collection and two pamphlets with Leafe Press. He’s written critical books on the poets Adrian Henri and Peter Finch.
Leafe Press was launched 26 years ago at a reading in Nottingham Central library. Leafe Press has published two pamphlets by Lee Harwood who has now gone on to have a monumental Collected and is regarded as a major figure in 1960s and 70s poetry. Leafe has published several debut collections, including Carrie Etter’s debut UK collection, Whether. Carrie is now widely known and published by major publishers. The press has always had an interest in translation and in 2007 published a sequence (in English and French) by the Moroccan poet and dissident Abdellatif Laabi. This was the first UK publication by this major figure who is now published by Carcanet and received the Prix Goncourt, France’s biggest literary honour. Alongside that, the press has brought out work by significant poets of the ‘British Poetry Revival’, notably Geraldine Monk, Kelvin Corcoran and Frances Presley. Explore Leafe Press’ Litter magazine online.
Book your free ticket for an evening screening with live BSL interpretation of THROUGH A MIRROR, DARKLY, a new three-channel film by Turner Prize nominated artist Naeem Mohaiemen. The film explores memorialisation, protest, and political violence through the lens of events in May 1970, when American students protesting domestic racism and overseas wars were met by state violence.
Doors: 6.15 pm
Film screening: 6.30 – 8 pm (approx)
Please note this film contains historic content featuring racialised language, images and graphic descriptions of violence, including death and acts of war. It may not be suitable for viewers under 16 years of age. Parental discretion advised.
About the film
As the Vietnam War came to its bloody end, for the American media, the memory of four American students shot dead at Kent State University was sometimes as emotionally charged as the millions of deaths in Vietnam.
In the decades that followed, a memorial community has formed around the ‘four dead in Ohio’. Yet while the deaths of students Alison Krause, Jeffrey Miller, Sandra Scheuer, and William Schroeder at Kent State, Ohio, are remembered, not many recall Phillip Lafayette Gibbs and James Earl Green, two students killed ten days later by police officers at Jackson State College, Mississippi, a Historically Black College.
By choreographing the relationship between archival footage and contemporary ceremonies memorialising the dead, THROUGH A MIRROR, DARKLY explores the role of memorials as a focal point for individual and collective grief. By comparing Kent and Jackson State, the project underscores blind spots around racialised violence and class tensions, made concrete in the disparity in coverage of these two campus shootings. The inclusion of stage-managed press conferences reveals the political machinations of the Nixon administration who fuelled a backlash to anti-war protests.
Mohaiemen deftly presents these intersecting strands, weaving together the voices of key political players, student leaders, and the fabled ‘man on the street’ alongside Vietnam veterans, to propose new interpretations of the events of May 1970 and their lasting impact.
About Naeem Mohaiemen
Naeem Mohaiemen was born in London, UK, grew up in Dhaka, Bangladesh and currently lives and works in New York, USA. He combines films, photography, drawings, and essays to explore forms of utopia-dystopia within families, borders, architecture, and uprisings – beginning in South Asia and then radiating outward to transnational collisions in the Muslim world after 1945.
Several conversations around ‘nonalignment’ as a concept container in contemporary art pivoted after the premiere of his film Two Meetings and a Funeral (2017) at Documenta 14, which was nominated for the Turner Prize (2018).
Mohaiemen’s museum projects are represented by Experimenter Gallery (India) and film screenings are represented by LUX (UK); his work is in major international collections including British Museum and Tate Modern (London), Museum of Modern Art (New York), MACBA (Barcelona), Van Abbemuseum (Eindhoven), Kiran Nadar Museum (Delhi), National Gallery of Singapore, Art Institute of Chicago, Samdani Art Foundation and Sharjah Art Foundation.
Mohaiemen is co-editor with Eszter Szakacs of Solidarity Must Be Defended (Budapest, 2023) and with Lorenzo Fusi of System Error: War is a Force That Gives Us Meaning (Siena, 2007). He is the author of Bengal Photography’s Reality Quest (Dhaka, 2025), Baksho Rohoshyo (Umea, 2024), Midnight’s Third Child (Dhaka, 2023) and Prisoners of Shothik Itihash (Basel, 2014). He is a faculty member at the Visual Arts Department, Columbia University.
Acknowledgments
Following the inaugural London presentation of the work by Artangel at Albany House (September – December 2025), the UK tour has been convened by Film and Video Umbrella and will travel to Bonington Gallery, Nottingham (2026), The Hunterian, University of Glasgow (2026), and John Hansard Gallery, Southampton (2026). The work will also be shown at the Wexner Center for the Arts at The Ohio State University, in Spring 2026.
Commissioned and produced by Artangel. Commissioned in partnership with Film and Video Umbrella and Wexner Center for the Arts at The Ohio State University. Supported by Experimenter.
Exhibition Partners: The Hunterian, University of Glasgow, John Hansard Gallery, Southampton and Bonington Gallery, Nottingham.
Artangel, FVU and John Hansard Gallery are generously supported using public funding by Arts Council England.
Join us for a free guided tour of of Ibiye Camp’s solo exhibition layt de kam at Bonington Gallery, and her newly commissioned artwork in NTU’s new Design and Digital Arts building close by.
The tour will be led by Tom Godfrey, Curator and Director of Bonington Gallery.
This event will last up to an hour. Please meet at the entrance to Bonington Gallery for a prompt start at 1.00 pm. Free and open to all, booking required.
Ibiye holds an MA in Architecture from the Royal College of Art, and BA (Hons) in Fine Art, from the University of the Arts London, Central Saint Martins. Ibiye’s Thesis project titled Data: The New Black Gold was awarded the School of Architectures Dean’s Prize and was nominated for the RIBA Silver Medal Award.
Ibiye has presented her work at The Sharjah Architecture Triennial titled Rights of Future Generations in 2019 and Triennale Milano The State of the Art of Architecture conference in 2020. She showed in the Istanbul Biennial titled Empathy Revisited in 2020, and MAAT – Museum of Art, Architecture and Technology’s exhibition titled X is Not a Small Country in 2021 and the 13th Shanghai Biennale titled Bodies of Water in 2021, and London’s Art Festival, Deptford X in 2022. In 2023 Ibiye was included in the Venice Architectural Biennial within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organized by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennial.
Ibiye Camp, Rhiarna Dhaliwal and Emmy Bacharach run a BA Studio titled Digital Native at the Design Academy Eindhoven.
Join us for a free guided tour of of Ibiye Camp’s solo exhibition layt de kam at Bonington Gallery, and her newly commissioned artwork in NTU’s new Design and Digital Arts building close by.
The tour will be led by Tom Godfrey, Curator and Director of Bonington Gallery.
This event will last up to an hour. Please meet at the entrance to Bonington Gallery for a prompt start at 1.00 pm. Free and open to all, booking required.
Ibiye holds an MA in Architecture from the Royal College of Art, and BA (Hons) in Fine Art, from the University of the Arts London, Central Saint Martins. Ibiye’s Thesis project titled Data: The New Black Gold was awarded the School of Architectures Dean’s Prize and was nominated for the RIBA Silver Medal Award.
Ibiye has presented her work at The Sharjah Architecture Triennial titled Rights of Future Generations in 2019 and Triennale Milano The State of the Art of Architecture conference in 2020. She showed in the Istanbul Biennial titled Empathy Revisited in 2020, and MAAT – Museum of Art, Architecture and Technology’s exhibition titled X is Not a Small Country in 2021 and the 13th Shanghai Biennale titled Bodies of Water in 2021, and London’s Art Festival, Deptford X in 2022. In 2023 Ibiye was included in the Venice Architectural Biennial within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organized by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennial.
Ibiye Camp, Rhiarna Dhaliwal and Emmy Bacharach run a BA Studio titled Digital Native at the Design Academy Eindhoven.
Join us for the launch of our final exhibitions of the season: THROUGH A MIRROR, DARKLY – a film commission from Turner-Prize nominated artist Naeem Mohaiemen and the 30th instalment of our Vitrines featuring a collection of photography from Baltimore-based photographer John Dean.
THROUGH A MIRROR, DARKLY is a new three-channel film by Turner Prize nominated artist Naeem Mohaiemen. It explores memorialisation, protest, and political violence through the lens of events in May 1970, when American students protesting domestic racism and overseas wars were met by state violence.
As part of the 30th instalment of our Bonington Vitrines series, we’re delighted to present A Semester in Nottingham, 1976, an exhibition of photographs by Baltimore-based John Dean. Captured during his time as a visiting student to NTU in 1976, these photographs offer a powerful glimpse into Nottingham life during a transformative era.
Enjoy a free welcome drink, delicious food (first come, first served!) and music.
All welcome but reserve your free ticket to avoid disappointment.
Join us for a free guided tour of Bonington Gallery’s latest exhibitions with BSL interpretation.
Book your free ticket and enjoy a guided tour of layt de kam, a solo exhibition by Ibiye Camp, led by the Gallery’s Director, Tom Godfrey.
Along with an introduction to the exhibition, Tom will talk through the accompanying Vitrines exhibition, Through Our Eyes, In Our Words.
This event will last up to an hour. Please meet inside Bonington Building in the foyer space outside the Gallery doors at 12.55 pm. Free and open to all, booking required.
Join us for the launch of our latest exhibitions — new film and textile work by multi-disciplinary artist Ibiye Camp, exploring the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
layt de kam critically examines the deployment of temporary power ships along West African coasts as a response to energy shortages. The work reflects both hope and uncertainty, emphasising the fragility of these energy solutions while honouring the resilience of coastal communities.
Accompanying layt de kam in our Vitrines is Through Our Eyes, In Our Words, an exhibition presenting stories of ageing, belonging, and inclusion among middle-aged and older-aged LGBT+ people in Britain.
Enjoy a free welcome drink, delicious food (first come, first served!) and music by multidisciplinary artist Fauzia.
All welcome but reserve your free ticket to avoid disappointment.
THROUGH A MIRROR, DARKLY is approximately 90mins long and will be screened:
Mon-Fri: 10.30am, 12pm, 1.30pm, 3pm
Saturday: 11am, 12.30pm, 2pm
Bonington Gallery is pleased to present THROUGH A MIRROR, DARKLY, a new three-channel film by Turner Prize nominated artist Naeem Mohaiemen. The film explores memorialisation, protest, and political violence through the lens of events in May 1970, when American students protesting domestic racism and overseas wars were met by state violence.
As the Vietnam War came to its bloody end, for the American media, the memory of four American students shot dead at Kent State University was sometimes as emotionally charged as the millions of deaths in Vietnam.
In the decades that followed, a memorial community has formed around the ‘four dead in Ohio’. Yet while the deaths of students Alison Krause, Jeffrey Miller, Sandra Scheuer, and William Schroeder at Kent State, Ohio, are remembered, not many recall Phillip Lafayette Gibbs and James Earl Green, two students killed ten days later by police officers at Jackson State College, Mississippi, a Historically Black College.
By choreographing the relationship between archival footage and contemporary ceremonies memorialising the dead, THROUGH A MIRROR, DARKLY explores the role of memorials as a focal point for individual and collective grief. By comparing Kent and Jackson State, the project underscores blind spots around racialised violence and class tensions, made concrete in the disparity in coverage of these two campus shootings. The inclusion of stage-managed press conferences reveals the political machinations of the Nixon administration who fuelled a backlash to anti-war protests.
Mohaiemen deftly presents these intersecting strands, weaving together the voices of key political players, student leaders, and the fabled ‘man on the street’ alongside Vietnam veterans, to propose new interpretations of the events of May 1970 and their lasting impact.
“In Corinthians 13:12, ‘through a glass, darkly’ meant the impossibility of viewing the full scope of divine plans. In a more earthly, secular context, I consider the memorialization of the Vietnam War era, and how the farther away we get in years, the hazier the many meanings of events in the mirror of memory become.”
– Naeem Mohaiemen
Naeem Mohaiemen was born in London, UK, grew up in Dhaka, Bangladesh and currently lives and works in New York, USA. He combines films, photography, drawings, and essays to explore forms of utopia-dystopia within families, borders, architecture, and uprisings – beginning in South Asia and then radiating outward to transnational collisions in the Muslim world after 1945.
Several conversations around ‘nonalignment’ as a concept container in contemporary art pivoted after the premiere of his film Two Meetings and a Funeral (2017) at Documenta 14, which was nominated for the Turner Prize (2018).
Mohaiemen’s museum projects are represented by Experimenter Gallery (India) and film screenings are represented by LUX (UK); his work is in major international collections including British Museum and Tate Modern (London), Museum of Modern Art (New York), MACBA (Barcelona), Van Abbemuseum (Eindhoven), Kiran Nadar Museum (Delhi), National Gallery of Singapore, Art Institute of Chicago, Samdani Art Foundation and Sharjah Art Foundation.
Mohaiemen is co-editor with Eszter Szakacs of Solidarity Must Be Defended (Budapest, 2023) and with Lorenzo Fusi of System Error: War is a Force That Gives Us Meaning (Siena, 2007). He is the author of Bengal Photography’s Reality Quest (Dhaka, 2025), Baksho Rohoshyo (Umea, 2024), Midnight’s Third Child (Dhaka, 2023) and Prisoners of Shothik Itihash (Basel, 2014). He is a faculty member at the Visual Arts Department, Columbia University.
Please note this film contains historic content featuring racialised language, images and graphic descriptions of violence, including death and acts of war. It may not be suitable for viewers under 16 years of age. Parental discretion advised.
Following the inaugural London presentation of the work by Artangel at Albany House (September – December 2025), the UK tour has been convened by Film and Video Umbrella and will travel to Bonington Gallery, Nottingham (2026), The Hunterian, University of Glasgow (2026), and John Hansard Gallery, Southampton (2026). The work will also be shown at the Wexner Center for the Arts at The Ohio State University, in Spring 2026.
The Albany House presentation of this exhibition has been reviewed by Jonathan Jones for The Guardian, and featured in Art and Design and Art Review.
Commissioned and produced by Artangel.
Commissioned in partnership with Film and Video Umbrella and Wexner Center for the Arts at The Ohio State University.
Supported by Experimenter.
Exhibition Partners: The Hunterian, University of Glasgow, John Hansard Gallery, Southampton and Bonington Gallery, Nottingham.
Artangel, FVU and John Hansard Gallery are generously supported using public funding by Arts Council England.
Artangel is generously supported by the private patronage of The Artangel International Circle, Special Angels, The Guardian Angels and The Company of Angels.
Bonington Gallery is delighted to announce layt de kam, a newly commissioned body of film and textile work by multi-disciplinary artist Ibiye Camp, exploring the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
At the heart of the exhibition is a critical reflection on the deployment of temporary power ships off the coasts of various West African cities — an intervention intended to address unstable energy infrastructures and shortages. The title, layt de kam (translated as “light is coming”), evokes both hope and uncertainty, highlighting the precarity of such power solutions while celebrating the enduring strength of coastal communities.
Combining spatial intervention, film and textiles, the exhibition will examine how brutalist infrastructure looms ominously over the intimate and everyday life on the shore. Central to the exhibition is a new film, GLOW, a speculative child’s tale that imagines the arrival of this foreign visitor who brings light. Created using point cloud reconstructions, the trace of the landscape is dependent on illumination, shadows and reflections to create the shapes and forms.
Camp further translates these digital landscapes into tactile form by laser-cutting point cloud stills into Kola Nut-dyed fabric. This process embeds the digital with the material, using concentrated light to cut cloth traditionally used by mothers to wrap their children—an enduring symbol of care and ancestral knowledge.
layt de kam further interrogates the broader geopolitical implications of temporary power infrastructures. Shaped by deregulation, privatisation, and conflict, these systems often reinforce global dependencies rather than fostering self-sufficiency. Drawing on theorist Keller Easterling’s concept of “extrastatecraft,” Camp reveals how non-state actors influence through infrastructure, turning energy access into a site of control.
By transforming disrupted landscapes into material memory, layt de kam offers a powerful narrative of resistance, care, and the entanglement of light, technology, and power.
Ibiye holds an MA in Architecture from the Royal College of Art, and BA (Hons) in Fine Art, from the University of the Arts London, Central Saint Martins. Ibiye’s Thesis project titled Data: The New Black Gold was awarded the School of Architectures Dean’s Prize and was nominated for the RIBA Silver Medal Award.
Ibiye has presented her work at The Sharjah Architecture Triennial titled Rights of Future Generations in 2019 and Triennale Milano The State of the Art of Architecture conference in 2020. She showed in the Istanbul Biennial titled Empathy Revisited in 2020, and MAAT – Museum of Art, Architecture and Technology’s exhibition titled X is Not a Small Country in 2021 and the 13th Shanghai Biennale titled Bodies of Water in 2021, and London’s Art Festival, Deptford X in 2022. In 2023 Ibiye was included in the Venice Architectural Biennial within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organized by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennial.
Ibiye Camp, Rhiarna Dhaliwal and Emmy Bacharach run a BA Studio titled Digital Native at the Design Academy Eindhoven.
Sound artist FAUZIA has made the soundtrack to Ibiye’s film GLOW.
Read an in-conversation between Ibiye Camp and Gökçe Günel, exploring the phenomenon of power-ships here.
Press:
– Art + Australia: ‘Floating Power Houses: A Conversation’.
– Yamo: 15 Questions with Ibiye Camp by Gary Grimes.
Join us for the launch of the first exhibition of the academic year, a two-person exhibition by William English and Sandra Cross bringing together film, photography, sculpture, sound, and archival material formed independently and collaboratively over several decades.
To Farse All Things offers a rare opportunity to explore the intertwined lives and practices of two artists whose work resists categorisation. Through a shared and uncompromising commitment to experimentation, hospitality, and social engagement, English and Cross have cultivated a body of work that is as generous as it is radical.
As part of the 28th instalment of the Bonington Vitrines series, we’re delighted to present Someone’s Doing Something, a project by London-based curatorial, research, and archival platform Gestures, developed in dialogue with writer Isabelle Bucklow.
Enjoy a free welcome drink, delicious food (first come, first served!) and music.
