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Tewa Barnosa

Tewa Barnosa (b.1998) is a Trans-disciplinary artist and curator, based between troubled Tripoli and a-political Amsterdam. Her artistic practice spans across trajectories of visual arts, literature, sound, and curatorial collaborations, Grounded in critical curiosity- and intuitive-based knowledge reinterpretation and re-production(s), She constructs surreal scenographies that navigate the intricacies of contradiction, extremity, and the evasive realm of transitional “in-between” psychological and physical spaces. Through recontextualization of source materials, generated fictions and mythologies, or investigated archives, she unveils and repositions fragments of evidence concerning human alienation and socio-ecological turbulence, frequently intersecting with the thematic constructs and frameworks of war laboratories and the violations of cognitive and cultural means of resistance.

Barnosa’s body of work consists of audio-visual installations, video loops, sound essays, calligraphy, poetic texts, digital drawings, expanded paintings and objects that are her tools and toys for investigating taboos & territories on the margins, Evidently informed by experiential engagement within cycles of repetitive revolutions and the tumultuous embrace of civil unrest, her curatorial methodology centers around collaborative processes such as exhibition projects, publishing, space-making, and public interventions to facilitate nomadic infrastructure of co-creation and conversations.

She is an alumni of the Rijksakademie van beeldende kunsten 2021-2023, a recipient of the Iwaelwahaus african artist award 2021, and the Berlin based fellowship for artists at risk by the Martin roth initiative 2019-2020, She is the founder of WaraQ for arts and culture, a project of reviving artistic conversations within and around the Libyan context.

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To develop a poetic/scientific approach for the research and creation of (My Mother’s satellite) as an immersive hybrid installation, I aim to research the use of NOAA Satellite imagery, extracting radio transmitted signals to decode durational images, as an offering of speculative propositions for planetary, eco-critical imaginations through the lens of post human poetics and philosophies.


There’s no transmissions back

All i hear is silence


It’s a cyber attack

My friends are soldiers of violence

Every channel

Modulates a panel

Of climate circuits

And fake forecasts


The sun hit the satellite

And brought all pixels back”

I proceed the project with the poem as a starting point of departure towards questioning our relationship to weather forecasts. I am particularly interested in the waiting ritual that it takes to actually capture satellite images through the patience that revolves around notions of predictions.

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