Sandra Poulson (b. 1995, Lisbon) is an Angolan artist who lives and works between London and Luanda. Poulson’s work discusses the political, cultural and socio-economic landscape of Angola as a case study to analyse the relationship between history, oral tradition and global political structures. Focusing on her local Luandan experience, history and knowledge to investigate and discover networks between micro political moments and how they reverberate into macro politics. Her practice utilizes inherited societal memory from colonial Angola and the civil war to dismantle contemporary narratives through semiotic and archaeological studies of ordinary objects as actors in political and cultural ongoing transformations. Which inherently draws the questions posed by the work to the task of decoloniality.
Poulson graduated from BA Fashion Print at Central Saint Martins in 2020. Among various group shows and art fairs. She has shown at Liste Art Fair Basel (2021), Arco Madrid (2021) (solo) , Lagos Biennial (2019), Abuja Art Week (2020), Art Joburg (2020), Firstsite, Colchester (2021), Lethaby Gallery (2021, 2018), Nunnery Gallery (2019), Copeland Gallery (2018), and is included in the upcoming show for Bloomberg New Contemporaries at the South London Gallery (12/2021).
Poulson has had screenings at the Guggenheim NY (2021, Salts Basel (2021) and Boda Boda Lounge (2020). Poulson was awarded the Mullen Lowe Nova Award 2020, Your Nova Award 2020, the CSM Deans Award 2020, was selected for New Contemporaries 2021 and the BNC Digital Fellowship 2021.
Poulson’s work has been featured in Frieze Magazine, New Currency Magazine, Vogue US, Vogue Itália, Vogue Brasil, I-D, The Face, FAD Magazine, Creative Brief, Where’s the frame?, 10 Magazine, Creative Review, Artnet News, Jornal de Angola, AnOther Magazine among others.
During her residency Sandra will be working on a solo exhibition that will be presented at V.O Curations in May 2022. Whilst in residence, Sandra will be mentored by Diana Campbell.
Diana Campbell Betancourt is a Princeton educated American curator who has been working in South and Southeast Asia since 2010, primarily in India, Bangladesh, and the Philippines. She is committed to fostering a transnational art world, and her plural and long-range vision addresses the concerns of underrepresented regions and artists alongside the more established in manifold forums.
Since 2013, she has served as the Founding Artistic Director of Dhaka-based Samdani Art Foundation, Bangladesh and Chief Curator of the Dhaka Art Summit, leading the critically acclaimed 2014, 2016, 2018, and 2020 editions. Campbell Betancourt has developed the Dhaka Art Summit into a leading research and exhibitions platform for art from South Asia, bringing together artists, architects, curators, and writers from across South Asia through a largely commission based model where new work and exhibitions are born in Bangladesh, also adding a scholarly element to the platform with a think tank connecting modern art histories in and across Africa, South and Southeast Asia in collaboration with the Getty Foundation, Cornell University Center for Comparative Modernities, the Asia Art Archive, and the Samdani Art Foundation. In addition to her exhibitions making practice, Campbell Betancourt is responsible for developing the Samdani Art Foundation collection and drives its international collaborations ahead of opening the foundation’s permanent home, Srihatta, the Samdani Art Centre and Sculpture Park in Sylhet.
Concurrent to her work in Bangladesh from 2016-2018, Campbell Betancourt was also the Founding Artistic Director of Bellas Artes Projects in the Philippines, a non-profit international residency and exhibition programme with sites in Manila and Bataan, and curated Frieze Projects in London for the 2018 and 2019 editions of the fair. She chairs the board of the Mumbai Art Room and is an advisor to AFIELD, a global network of socially engaged artistic practices. Her writing has been published by Mousse, Frieze, Art in America, the Museum of Modern Art (MoMA) among others.