Nis Murat

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	<title>Nis Murat</title>
	<link>https://sadnisrinart.net</link>
	<description>Nis Murat</description>
	<pubDate>Thu, 13 Aug 2026 16:25:49 +0000</pubDate>
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		<title>Index</title>
				
		<link>https://sadnisrinart.net/Index</link>

		<pubDate>Tue, 21 Feb 2023 20:48:36 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

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		<title>Information</title>
				
		<link>https://sadnisrinart.net/Information</link>

		<pubDate>Tue, 21 Feb 2023 20:48:36 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

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	Nis Murat is a Singaporean-born artist and curator based in Plymouth, UK. 

Murat’s artistic practice often explores memory, domesticity, heritage, and their personal geographical and emotional displacement. Their artistic practice primarily focuses on perspective, writing, and sonic practices, with an emphasis on introspection and self-reflection. 
This self-reflective artistic approach extends into their curatorial work, which is centred around accessibility, inclusivity, and empathy. They apply an introspective and empathetic lens, seeking to understand how a curator can make experiencing art accessible to all.


Work with Nis:
sadnisrinart@gmail.comInstagramSoundcloud


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		<title>CV &#38; Work Experience</title>
				
		<link>https://sadnisrinart.net/CV-Work-Experience</link>

		<pubDate>Sat, 31 Jan 2026 12:14:46 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/CV-Work-Experience</guid>

		<description>
	
	  
	curatorial, programme, and exhibition technician experience
Half Baked 2.0 &#124; March 2026Co-Curator, Install Technician
Sapphos Cafe &#38;amp; Community Space, Plymouth

Extra Credit – Arts University Plymouth Alumni Show &#124; September 2025Co-Organiser, Co-Curator, Install Technician, Graphic Designer
Project Space 1, Arts University Plymouth
Cyclical Tensions – KARST Volunteer Show &#124; August–September 2025Curator, Project Coordinator &#38;amp; Manager, Install Technician, Graphic Designer
FENSTER Project Space, KARST Gallery


RECALL: Stories, Symbols and Simulations &#124; November 2024Co-Lead Coordinator &#38;amp; Co-Programme Curator, Head AV Technician
Student-led Conference, MA Curating and Collections


History is a living weapon in yr hand &#124; September 2024Co-Programme Curator, Co-Designer
MA Curating and Collections in collaboration with Peer Gallery and Onyeka Igwe


Lingering on The Threshold &#124; June–July 2024Co-Programme Curator, Assistant Install &#38;amp; AV Technician
MA Curating and Collections Degree Show, in collaboration with Artangel and October Salon 


Improvising Antiphony &#124; March 2024Co-Programme Curator, Co-Designer, Assistant Technician
MA Curating and Collections in collaboration with Women in Revolt, Tate Britain


I Know You Intimately, You Know Me Not At All &#124; February 2024Co-Programme Curator, Co-Designer, Assistant Technician
MA Curating and Collections in collaboration with Women in Revolt, Tate Britain


Foyer @ Studio 11 &#124; 2023Curator &#38;amp; Coordinator
Studio 11, Arts University Plymouth


Untitled’23 (BA Year 1 Show) &#124; 2023Curatorial &#38;amp; Technical Assistant
Project Space 1, Arts University Plymouth


teaching &#38;amp; workshop experienceVisiting Lecturer &#38;amp; Workshop Coordinator &#124; May 2025
UAL Chelsea College of Art – MA Curating and Collections


Event &#38;amp; Workshop Facilitator &#124; November 2024
UAL Postgraduate Committee in collaboration with Peer Gallery, London


voluntary experienceSteering Group MemberVisual Arts Plymouth, Plymouth Art Weekender CIC &#124; 2026–Present


Gallery Assistant KARST Gallery, Plymouth &#124; 2025–Present
Work with Nis:
sadnisrinart@gmail.comInstagram

	
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	<item>
		<title>What’s a Home When You’re Leaving So Soon?</title>
				
		<link>https://sadnisrinart.net/What-s-a-Home-When-You-re-Leaving-So-Soon</link>

		<pubDate>Thu, 13 Aug 2026 16:25:49 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

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	What’s a Home When You’re Leaving So Soon?
Exhibition
KARST Volunteer Show
FENSTER Project Space, KARST GalleryPlymouth, Devon11-12 September 2026
	What’s a Home When You’re Leaving So Soon? features work by KARST volunteers, curated by Nis Murat.
The works on show explore what home means to the featured artists, uncovering how they find familiarity and refuge in disparate locations. The ephemerality of home, whether physical or psychological, shapes how we move through life. The show centres around each artist's distinct sense of what it means to belong and how inclusion and acceptance can be found in times of uncertainty and instability. 
“Home is in being here not having always been here, and being there but knowing you’ll leave soon. I found all those senses of home – of comfort, of safety, of belonging – not in a place but in the awareness that I, like you, like so many others, will always be torn between two, at least two. That I, just like you, learned to hold two separate and sometimes contradictory cultures in me – that I grew up in one but matured in the other.”
Extract from Home is Other Immigrants by Majka Wankiewicz, Outhouse Magazine Issue 1


KARST’s webpost on What’s a Home When You’re Leaving So Soon?
Artist showcased:Dana Aala, AS•I•AM, Sally Clark, Nis Murat, Ainsley Robinson, Leah Rowcliffe, Farrah Seyedi, Lucy Claire Walker 


Curated, written,
 and designed by Nis Murat


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Collage made by Nis Murat

	
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Poster made by Nis Murat
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		<title>CYCLICAL TENSIONS</title>
				
		<link>https://sadnisrinart.net/CYCLICAL-TENSIONS</link>

		<pubDate>Mon, 13 Jan 2025 11:07:06 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/CYCLICAL-TENSIONS</guid>

		<description>
	Cyclical Tensions
Exhibition
KARST Volunteer Exhibition
KARST, FENSTER project space Plymouth, Devon
September 2025
	Cyclical Tensions is an exhibition by KARST volunteers.

The works in this exhibition articulate a collective inquiry into repetition, routine, and resistance, whether encountered intentionally or subconsciously, as both a strategy and a conceptual condition. Repetition here is never neutral: it generates tension. It does not promise stability; it exposes vulnerability and temporality. The works enact a resistant gesture against disappearance, inhabiting spaces where memory, process, and fragility continually press against one another.
This exhibition is grounded in the notion that repetition is not static. Each iteration, each routine, each cycle bears the weight of contingency, sustaining a tension that accumulates between sameness and difference, stability and instability, revealing the strain on the efforts that strive to persist within them. What remains is not the perfect copy, but the unresolved resonance: the glitch, the stain, the hand, the horizon line drawn once more.

KARST’s webpost on Cyclical Tensions
Artist showcased:AS•I•AM, Dana Aala, Elisa Margot Winters, Erica Luke, Flora Elford, Lucy Walker, Noah Cole, Sarah Trotter

Read about the artists

Curated, written,
 and designed by Nis Murat


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		<title>RE:CALL &#124; Stories, Symbols and Simulations copy</title>
				
		<link>https://sadnisrinart.net/RE-CALL-Stories-Symbols-and-Simulations-copy</link>

		<pubDate>Sat, 31 Jan 2026 12:46:55 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/RE-CALL-Stories-Symbols-and-Simulations-copy</guid>

		<description>
	RE:CALL 
Stories Symbols and Simulations
Conference
MA Curating and Collections Student Led Conference
University Arts London,
Chelsea College of Art&#38;nbsp;

November 2024
	This conference examined the preservation of collective and personal memories, focusing on how we shape our understanding of identity, recollection, and history through an archival methodology. Panels, workshops, screenings, and performances explored how humans not only construct and interpret their memories but also shape their understanding of reality through these intricate and symbolic systems. The conference will feature contributions from MA Curating and Collections graduating student curators, alongside distinguished guest speakers including Linsey Young, Rodrigo Chaveiro, Dr. Ireti Olowe, Xiangmin Yang, and Sam Sing Hang Tam. 
Curated together with:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Wanjing Lin, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Shuyi Wang, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou
Images by:
Riccardo Greco, Maria Herrero Tejada &#38;amp;&#38;nbsp;Wenyan Ma


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&#38;nbsp;


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		<title>London is a living history in yr hand</title>
				
		<link>https://sadnisrinart.net/London-is-a-living-history-in-yr-hand</link>

		<pubDate>Mon, 13 Jan 2025 13:43:51 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

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		<description>
	London is a living history in yr hand
Public programming
MA Curating and Collections in collaboration with Peer Gallery and Onyeka Igwe.
Peer GalleryLondon, HoxtonSeptember 2024
	

						London is a living history in yr hand accompanied the exhibition history is a living weapon in yr hand
by artist Onyeka Igwe at Peer Gallery, in the form of a physical map.

						
history is a living weapon in yr hand takes as its starting point the year of 1947,
when London was a hub of radical anti-colonial activity. Central to the exhibition,
Onyeka Igwe’s film, A Radical Duet, imagines what happened in the 1940s
when two women of different generations who were fighting for independence,
came together in London to write a revolutionary play.

						
Responding to the film, this map&#38;nbsp;pinpoints significant figures and locations in
Hackney and further afield, past and present: locations that may be familiar to
many—places passed every day or often visited—and others perhaps less well
known. These places connect us to black British histories that may otherwise
go unnoticed, and contain traces of those that have been forgotten or silenced.
Through remapping, we recognise their stories and contributions, and the part
they play in creating the East London that we know today.
A digitised, expanded version of this map is available. It includes a reading list and a bibliography:&#38;nbsp;

https://london-is-a-living-history-in-yr-hand.webflow.io/map

						
Compiled and printed by : 
Nis Azmee Murat, Yining Bai, Stephanie Colclough,
Wanjing Lin, Heyue Lu, Zihan Zhou
Illustrated by:
Nis Azmee Murat, Stephanie Colclough
Design layout by:
Nis Azmee Murat


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</description>
		
	</item>
		
		
	<item>
		<title>Lingering On the Threshold</title>
				
		<link>https://sadnisrinart.net/Lingering-On-the-Threshold</link>

		<pubDate>Mon, 13 Jan 2025 09:02:38 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/Lingering-On-the-Threshold</guid>

		<description>
	Lingering on the Threshold
Exhibition
MA Curating and Collections Degree Show, in collaboration with Artangel and OctoberSalon
University Arts London,
Chelsea College of Art&#38;nbsp;

July 2024
	Lingering on the Threshold brings together works from The Artangel Collection and The October Salon Collection. In these works, liminality functions as a way for artists to engage with cultural, economic, and environmental concerns by searching for new solutions outside of their current structures. In an increasingly saturated digital world, we find ourselves drawn to the realms of phantasmagoria and liminality as an escape from the noise and density of waking reality. The term "liminal" comes from the Latin word "limen", meaning threshold. Within the exhibition, these in-between spaces take the form of desolate nuclear bunkers, museum galleries after hours, and the backseat of a taxi. Through the sphere of liminality, we discover a terrain unbound by societal expectations and prescriptions. Liminality is characterised by transformation. It is here, in this ephemeral and often enigmatic state, that our minds are liberated, allowing us to explore the depths of our existence. Lingering on the Threshold functions as a labyrinth of stories in which we invite visitors to get lost and come in contact with a dreamscape of memory, suggestion, and wonder.
Artists Showcased:List of artworks can be found below


 Sanja Anđelković, 
 Francis Alÿs, Igor Bošnjak,&#38;nbsp;


 Rachel Pimm &#38;amp; Graham Cunnington,&#38;nbsp;
 Ben Rivers,&#38;nbsp;
 Gregor Schneider
 
 Curated together with:
 Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Yaqi Liang, Wanjing Lin, Heyue Lu, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Charmaine Wah, Xingcheng Xu, Lilian Zancajo-Lugo


Images by:
 Wanjing Lin and Charmaine Wah


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&#38;nbsp;


	Sanja Anđelković, Look up! I am No Canopy- I am a Messenger, 2022cli-fi speculative choral piece/performance/audio, 17 minutes(approx) Commissioned by The 59th October Salon (Belgrade Biennial), production and organization by The 59th October Salon

Sanja Anđelković's Look up! I am No Canopy- I am a Messenger (2022) is a multidimensional audio/visual portal with psychological sentimentality. Guided through the animated dreamscape by an ethereal choir providing prophecies about our time, the orthodox songs lead to abstract thoughts on social issues like climate change and eco-feminism.

Francis Alÿs
Fitzroy Square (Railings), 2004video, 9 minutes 15 secondsThe Artangel Collection


Memory and liminality extends to Francis Alÿs' Fitzroy Square (Railings) (2004), where architecture becomes a reverberating musical instrument, echoing a sensorial memory in the city's bones.The Nightwatch, 2004video, 17 minutes 21 secondsThe Artangel Collection

Francis Alÿs' The Nightwatch (2004) tracks a rogue fox navigating the maze of London's National Portrait Gallery at night, seen through their CCTV system. The fox re-examines many of the same rooms, searching for entrances and exits amid a whirlwind of London's historical ghosts.


Igor Bošnjak, Hotel Balkan, 2013video, 10 minutes 27 seconds The October Salon Collection 

Igor Bošnjak's Hotel Balkan (2013) walks us through a desolate nuclear bunker in Bosnia, its architecture haunted by its mortal conception and the uncanny nature of human absence. Navigating through dark corridors and surrounded by textural audio reminiscent of a Geiger counter, Hotel Balkan is a liminal encounter with space and memories of the past.


Rachel Pimm and Graham Cunnington
 an earshare / to cassay the earth crust part 1, 2021digital media, 16 minutes 05 seconds, The Artangel Collection

an earshare / to cassay the earth crust part 2, 2021digital media, 15 minutes 54 seconds, The Artangel Collection


Rachel Pimm

thunderclap2021 digital media, The Artangel Collection

etym, 2021 digital mediaThe Artangel Collection

 cyclotrimethylenetrinitramine2021 digital media, The Artangel Collection
 
 calthemite points the finger 2021 digital media, The Artangel Collection

 hagstone 2021 digital media, The Artangel Collection

an earshare to cassay the earth crust 2021 rocks, calthemite, The Artangel Collection

THE THING IS 2021 text, paper, The Artangel Collection

Graham Cunnington 

clast and blast /bone and stone 2001 text, paper, The Artangel Collection

a backscatter reverberation 2001 text, paper, The Artangel Collection


Rachel Pimm and Graham Cunnington's an earshare / to cassay the earthcrust (2021) is a site specific investigation of the violent historical traces found at Orford Ness. This exploration between conservation, geology, and quantum mechanics, is centred around the concept of "earsharing," the act of deeply listening to the Earth's natural qualities.


Ben Rivers
 Mrabet (Two Eyes are not Brothers), 2015film, digitised from 16mm, black and white, sound with subtitles9 minutes (approx)The Artangel Collection


Taxi (Two Eyes are not Brothers), 2015film, digitised from 16mm, colour, sound, 3 minutes 14 secondsThe Artangel Collection


Ben Rivers' Mrabet and Taxi are selections from his suite of five films, The Two Eyes Are Not Brothers (2015), partially based on Paul Bowles' 1947 novel, A Distant Episode. In Mrabet, Rivers documents his encounter with Mohammed Mrabet, a storyteller and artist, now 88, who recounts myths and memories, blending documentary, fantasy, and fable. 

In Taxi, the audience is met with the haunting gaze of a fellow passenger, with directions to and from remaining unsaid and unknown, focusing instead on the interpersonal interpersonal probing of sharing transitory space.


Gregor Schneider, Die Familie Schneider, 20042 channel video, 13 minutes 12 secondsThe Artangel Collection


Gregor Schenider’s Die Familie Schneider (2004) maps identical neighbouring houses, 14 and 16 Walden Street. Filmed from the perspective of the visitor and screened side-by-side, the films provide an experience of moving through the houses: faded yellow wallpaper, stained carpets, dark basements, and uncanny encounters with identical twins.
</description>
		
	</item>
		
		
	<item>
		<title>Improvising Antiphony</title>
				
		<link>https://sadnisrinart.net/Improvising-Antiphony</link>

		<pubDate>Mon, 13 Jan 2025 13:43:55 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/Improvising-Antiphony</guid>

		<description>
	Improvising Antiphony
Public Programming, Exhibition
MA Curating and Collections in collaboration with Chelsea space, In conjuction with the Women in Revolt exhibition held at Tate Britain
University Arts London,
Chelsea College of Art&#38;nbsp;

March 2024
	Improvising Antiphony is the second iteration to I Know You Intimately, and You Know Me Not At All.
This exhibition hosted at Chelsea Space and curated by students of MA Curating and Collections at Chelsea College of art celebrates the work and wider influence of the experimental musician, Lindsay Cooper. By exploring her use of improvisation to create opportunities for antiphonal exchange between performers and audiences, this archival display examines collaborative practice in sonic and feminist movements. Drawing on the spirit of improvisation, Improvising Antiphony encourages visitors to listen, feel and respond to a generation of women's sounds influenced by Cooper.Curated together with:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Wanjing Lin, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Shuyi Wang, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou
Images by:
Wanjing Lin


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&#38;nbsp;
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	<item>
		<title>I Know You Intimately, You Know Me Not At All</title>
				
		<link>https://sadnisrinart.net/I-Know-You-Intimately-You-Know-Me-Not-At-All</link>

		<pubDate>Mon, 13 Jan 2025 13:45:02 +0000</pubDate>

		<dc:creator>Nis Murat</dc:creator>

		<guid isPermaLink="true">https://sadnisrinart.net/I-Know-You-Intimately-You-Know-Me-Not-At-All</guid>

		<description>
	AI Know You Intimately, You Know Me Not At All
Public Programming
MA Curating and Collections Student Led Conference
Chelsea Space
February 2024
	Presented at Chelsea Space to accompany the screening of The Gold Diggers by Sally Potter, 1983, and in relation to the Women in Revolt! Art and Activism in the UK 1970-1990 exhibition at Tate Britain, I Know You Intimately and You Know Me Not at All, curated by the MA Curating and Collections students at Chelsea College of Arts, explores material from The Lindsay Cooper archive at UAL.

Responding to themes and contexts that are presented within The Gold Diggers such as its celebration of collaboration, shared histories, and alliances amongst women both in production and plot; this project in two parts reflects individuals reaching out to one another, seeking community and intimacy amidst the challenges of the time—asking for something, giving something, and finding solace in one another. The context for the film emerged during a period of profound political and economic upheaval in Britain, characterized by Thatcher‘s governance, dwindling public funding, and disproportionate impacts on marginalized communities.&#38;nbsp;Drawing from the Lindsay Cooper Archive, housed at the University of the Arts London, the display exhibits photographs, documents, and audio, providing insight into the production of the film and beyond. Through this curatorial intervention, visitors are encouraged to reinterpret institutional paradigms and construct new pathways to collective liberation.
 The second iteration of this programme is Improvising Antiphony
Curated together with:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Wanjing Lin, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Shuyi Wang, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou


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