Beachhead’s Peace of Mind.

Beachhead’s Peace of Mind takes its title and its method from Beachhead, a newspaper that appeared in Venice, California, in 1968, retrieved here as an archival image and a model: borrowing that publication’s strategy of writing, printing, and distributing an open-ended, process-based and community-oriented form of content, and setting it against the rich New Zealand history of protest over land confiscation, nuclear energy, and racial discrimination, the show is constructed as an urgent call for peace.

It presents work by Morehshin Allahyari, Marwa Arsanios, Khaled Barakeh, Don Driver, Harun Farocki and Andrei Ujică, Bouchra Khalili, Şener Özmen, Savaş Boyraz, Khaled Sabsabi, Hito Steyerl, and myself; my contribution drew on elements of The Ground Swallows You. The works gathered share a common political ground in their demand for critical thinking, social justice, and global peace, and—with a particular focus on projects from the Middle East and their links to a global agenda—the exhibition operates as a critical agency for rethinking how migration, national borders, and transnationalism shape our understanding of peace, the ethics of war, and global terrorism.