Another Story 2026: artists and dates announced!

WHO GOES HUNTING DOES NOT COUGH curated by Kisito Assangni for Pixelache Helsinki, will open its doors at Museum of Technology on 11.9.2026 with a group exhibition, and a screening with a live performance will follow at EMMA – Espoo Museum of Modern Art, on 16.9.2026. The activities are a prelude to Pixelache Helsinki Festival’s celebrations, with contents linking directly within the festival’s programme.

The exhibition at the Museum of Technology will be on display from 11.9. to 11.10.2026 featuring works by: Kongo Astronauts, Yto Barrada, Neïl Beloufa, Theo Eshetu, Mouna Jemal Siala, Miatta Kawinzi, Ali Akbar Metha, Marek Pluciennik, Johan Thom, Eden Tinto Collins, Sofia Yala, Oliver Whitehead.

The screening at EMMA – Espoo Museum of Modern Art includes works by: Kongo Astronauts, Yto Barrada, Neil Beloufa, Theo Eshetu, Cao Fei, Joseph Ijoyemi, Mouna Jemal Siala, Jesper Just, Miatta Kawinzi, William Kentridge, Shirin Neshat, Johan Thom, Eden Tinto Collins, Sofia Yala, Oliver Whitehead. Live performances by Joseph Ijoyemi.

In the words of Kisito Assangni:

“The title Who Goes Hunting Does Not Cough, is derived from an African proverb suggesting that, despite the significance and positioning of projects, their value is ultimately best demonstrated through their outcomes. The exhibition introduces the public to the works of international artists from different contexts who take on the concepts of power relations, decolonial aesthetics, affective spaces, resilient communities, and new technologies. They reflect about new visualities conducive to look towards the future of the museum as a lived experience. Combining video, video games, film, sound, photography, installation and performance, most of the pieces in the show embrace a sense of reinvention and agency with the aim to shape various interpretative environments. They speak to the informed viewer as much as the uninitiated.

This exhibition is an experimental platform for critical reflection and non-hegemonic worldviews. It transcends cultural hierarchies, aligning with what theorist Irit Rogoff in her 2000 book Terra Infirma calls “criticality” –– a practice that constantly questions and destabilizes the authority of knowledge production. This shift opens up new interstices—spaces of intersection— where diverse forms of knowledge, from indigenous epistemologies to speculative futurisms, can coexist and interact. By challenging linear narratives and fixed hierarchies of values, media art could be the saving grace of the museum of the future. As society becomes increasingly mediated by technology, media art offers a compelling pathway for museums to remain relevant, accessible, and reflective of contemporary life.”