Qanita Lilla
Biographic Data
| ID | 1264286 |
|---|---|
| NAME | Qanita Lilla |
| GIVEN NAMES | Qanita |
| FAMILY NAME | Lilla |
| SIGNATURE | LILLA Q |
| AFFILIATIONS | Stellenbosch University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Containers of Diasporic Memory
This article examines interventions by Asian Canadian artists Derya Akay, Cindy Mochizuki, and Alize Zorlutana in the exhibitions Fugitive Rituals (2021) and Artwork Becomes Dinner Party (2023) at Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, Canada. These exhibitions undermined the colonial underpinnings of the university museum and nourished community and collectivity but also revealed deep disparities in the institution.…
Displaced kinship
Cast in stone
I started my fine art training in the 1990s at the university currently known as Rhodes.* The foundation of art training was drawing. First year focused on two subjects: the European plaster cast and the nude black model. This practice situated my learning of art in the European past as well as the South African present. Drawing on black feminist thought I show that framed by colonial norms the black body was a humiliated and abject subject. She …
Hostels, homes, museum
The making of the Lwandle Migrant Labour Museum can be captured in the story of the bucket toilet. Adjoining the museum’s key artefact, Hostel 33, the toilet was the only one of its kind, following
No prominent works on this page.
Hostels, homes, museum
The making of the Lwandle Migrant Labour Museum can be captured in the story of the bucket toilet. Adjoining the museum’s key artefact, Hostel 33, the toilet was the only one of its kind, following
Cast in stone
I started my fine art training in the 1990s at the university currently known as Rhodes.* The foundation of art training was drawing. First year focused on two subjects: the European plaster cast and the nude black model. This practice situated my learning of art in the European past as well as the South African present. Drawing on black feminist thought I show that framed by colonial norms the black body was a humiliated and abject subject. She …
Displaced kinship
Containers of Diasporic Memory
This article examines interventions by Asian Canadian artists Derya Akay, Cindy Mochizuki, and Alize Zorlutana in the exhibitions Fugitive Rituals (2021) and Artwork Becomes Dinner Party (2023) at Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, Canada. These exhibitions undermined the colonial underpinnings of the university museum and nourished community and collectivity but also revealed deep disparities in the institution.…
African history and culture studies (3 works) · History (3 works) · Sociology (3 works) · Art (2 works) · Gender Studies (2 works) · Gender Studies (2 works) · History (2 works) · Political science (2 works) · South African History and Culture (2 works) · Aesthetics (1 work)