{"id":383479,"date":"2026-01-02T12:24:26","date_gmt":"2026-01-02T12:24:26","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/383479\/"},"modified":"2026-01-02T12:24:26","modified_gmt":"2026-01-02T12:24:26","slug":"artists-translate-trauma-into-form-for-sainsbury-centre-exhibition","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/383479\/","title":{"rendered":"artists translate trauma into form for sainsbury centre exhibition"},"content":{"rendered":"

artists translate trauma through material, memory, and refusal<\/p>\n

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Until May 17th, 2026, the Sainsbury Centre in Norwich, England, presents Seeds of Hate and Hope, an exhibition<\/a> that brings together artists\u2019 personal and political responses to some of the most devastating acts of violence of the 20th and 21st centuries. Set within the Centre\u2019s wider investigative season titled Can We Stop Killing Each Other?, the show examines how art has confronted genocide, ethnic cleansing, war crimes, and crimes against humanity through reflection, memory, and acts of resistance rooted in lived experience.<\/p>\n

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Seeds of Hate and Hope focuses on how artists process and translate trauma into form<\/a>. The exhibition features works by Mona Hatoum, William Kentridge, Zoran Mu\u0161i\u010d, Peter Oloya, Kimberly Fulton Orozco, Indr\u0117 \u0160erpytyt\u0117, Gideon Rubin, and Ishiuchi Miyako, among others. Across different geographies and generations, these artists bear witness to conflict through strategies that include abstraction, erasure, material transformation, and symbolic gesture.\u00a0<\/p>\n

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Mona Hatoum, Hot Spot, 2006. Stainless steel, neon tube. Courtesy of the David and Indr\u0117 Roberts Collection. \u00a9 Mona Hatoum. All rights reserved, DACS 2025 | image by Stephen White, courtesy of White Cube<\/p>\n

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Seeds of Hate and Hope positions art as witness<\/p>\n

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Key works featured in the exhibition include William Kentridge\u2019s Ubu Tells the Truth (1997), which confronts the violence and injustice of apartheid-era South Africa through his distinctive animated language. Gideon Rubin\u2019s Black Book (2017) systematically redacts every page of Adolf Hitler\u2019s Mein Kampf, emptying the text of its ideological force while leaving behind a stark material trace. Ishiuchi Miyako\u2019s photographic series documents everyday objects once owned by victims of the atomic bombings of Hiroshima and Nagasaki, using absence and intimacy to register loss. Mona Hatoum\u2019s Hot Spot (2006) presents a glowing, red-lined world map, a vision of a planet that, as Hatoum has described, is \u2018continually caught up in conflict and unrest.\u2019 Alongside these are bronze sculptures by Peter Oloya, whose practice is shaped by his experiences of violence and displacement during conflict in northern Uganda, translating personal history into tactile, enduring forms.<\/p>\n

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Curated by Tafadzwa Makwabarara, Curator of Cultural Empowerment at the Sainsbury Centre, together with independent curator, writer, and EMPIRE LINES podcast producer Jelena Sofronijevic, the exhibition frames art as both a witness to atrocity and a tool for healing. Drawing on individual stories and shared histories, Seeds of Hate and Hope explores how resilience and resistance often emerge under extreme conditions and how creative acts can counter forces of dehumanization, prejudice, and hate speech.\u00a0<\/p>\n

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installation view of Dante Elsner, 1985-1990. Copyright of the artist | image bu Kate Wolstenholme<\/p>\n

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Sainsbury Centre rethinks the museum as a space for empathy<\/p>\n

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The exhibition forms part of the Sainsbury Centre\u2019s ongoing rethinking of the museum as a living, relational space following its radical relaunch in 2023. Seeds of Hate and Hope sits alongside four other concurrent exhibitions within the Can We Stop Killing Each Other? season, including Tiaki Ora \u221e Protecting Life: Anton Forde, Eyewitness, Roots of Resilience: Tesfaye Urgessa, and The National Gallery Masterpiece Tour: Reflections on Peace. Together, they ask whether empathy, creativity, and cultural production can meaningfully intervene in cycles of violence, and whether hope can be actively chosen over harm.<\/p>\n

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Supported by exhibition research funding from the Jonathan Ruffer grant from the Art Fund, Seeds of Hate and Hope underscores the Sainsbury Centre\u2019s long-standing commitment to presenting art from across global histories and contexts on equal terms. Housed within Sir Norman Foster\u2019s first public building, the museum continues to position art as a living force, one capable of helping societies confront their most difficult questions.<\/p>\n

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Peter Oloya, Politrick, 2023 | \u00a9 image courtesy of the artist and Pangolin London<\/p>\n

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installation view of Peter Oloya, 1979-2023. Copyright of the artist and Pangolin London. | image by Kate Wolstenholme<\/p>\n

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(left and middle) Ishiuchi Miyako, \u3072\u308d\u3057\u307e\/hiroshima#71 donor: Hatamura, T, 2007. \u3072\u308d\u3057\u307e\/Hiroshima, #102, #104, #113, #114, #115 Donor: Hagimoto, T, 2014. Copyright: Ishiuchi Miyako. Courtesy of Michael Hoppen Gallery. (right) Jananne Al-Ani, production still from the film Shadow Sites II, 2011. Copyright of the artist<\/p>\n

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Ishiuchi Miyako, \u3072\u308d\u3057\u307e\/hiroshima#71 donor: Hatamura, T, 2007. Copyright: Ishiuchi Miyako. Courtesy of Michael Hoppen Gallery<\/p>\n

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Gideon Rubin, Black Book, Joseph Goebbels giving a speech, gouache on printed paper, (p.484), 2017. Courtesy of the artist<\/p>\n

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Installation view of Gideon Rubin, Black Book, 2017. Copyright of the artist | image by Kate Wolstenholme<\/p>\n","protected":false},"excerpt":{"rendered":"artists translate trauma through material, memory, and refusal \u00a0 Until May 17th, 2026, the Sainsbury Centre in Norwich,…\n","protected":false},"author":2,"featured_media":383480,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[76,354,355,49,48,356,75,35111,53021],"class_list":{"0":"post-383479","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-ca","12":"tag-canada","13":"tag-design","14":"tag-entertainment","15":"tag-exhibitions","16":"tag-social-impact"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/383479","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=383479"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/383479\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/383480"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=383479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=383479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=383479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}