Examining his own displacement, a Sudanese curator and former gallery owner reflects on the cultural, emotional, and psychological tolls from an ongoing civil war in Sudan through the movement and work of artists who relocated from Khartoum to Nairobi.

Amol K. Patil, in an interview with Pranita Thorat, details the deeply personal and politically charged narratives of his practice, discussing how his work lays bare the realities of caste, labour, and displacement.

Ruins are not just remnants of the past—they are strategic, political, and weaponised with intent. In this interview we explore how demolition and displacement serve state power while also becoming spaces of resistance and remembrance.

Musa Shadeedi examines how the feminisation and queering of Palestinian resistance in Gaza are used as tools of justifying genocide and occupation. By situating this tactic within its historical colonial and anti-Islamic context, Shadeedi exposes the contradictions inherent in these narratives.

A conversation with Isabel and Carl Gakran about the Zág (Araucaria), an indigenous tree threatened with extinction. We talked about their project (Instituto Zág), Indigenous climate justice and the intersection between the Palestinian and the (Brazilian) Indigenous struggles.

NO NIIN Issue 29 is LIVE 🚀

Shahi Derky’s poignant text about leaving Syria, seeking refuge in different places, and the unending exile of figuring things out, remembering many pasts, and imagined futures.

@noniinmagazine.bsky.social has done such an amazing job by enriching discussions in the Finnish culture field during the past few years. Unfortunately they have run out of their funding now. Please support by purchasing the physical magazine(s) now and in the future! 🤲 no-niin.com/shop/

“If I don’t learn with my dad, I won’t know the history of this plant, and we will lose this knowledge. Society now is covered with other knowledge, making you feel small and unconfident and think you need to eat some plants and not others. They create changes through the structure.”

Highlighting the significance of ecological knowledge practiced by farmers in Thailand, the paper explores how agroecology resists capitalist agriculture, supports farmers’ autonomy and generational knowledge, and fosters resilience and knowledge-sharing among communities.

Ali Akbar Mehta interviews Stan Douglas on the complexities of photography and its inherent alienation that can be harnessed to disrupt traditional narratives and offer fresh perspectives on history.

In Saulė Bliuvaitė’s film ‘Toxic’, friendship and rivalry weave together in a complex dance, an intricate play of support and silent competition. Filled with both violence and tender moments, in the film it emerges as a fragile lifeline. no-niin.com/issue-28/a-d...

On Joel Slotte’s process, the display of reference material in his work, the ethical side of using personal references of an artist and the impact and role of people close to him in his work, and the infrastructures of the art world and the fragility in which we operate. no-niin.com/issue-28/pai...

NO NIIN Issue 28: How We Come to Imagine Freedom looks at artistic practices that remember, resist, and redefine themselves to exist outside of colonial frameworks. no-niin.com