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The Lobby Gallery

The gallery’s mandate is to foster alternative and artistic forms of dissemination of research through critical artistic expression, enabling a space for creative dialogue about global issues. It also seeks to build communication among students, faculty, researchers and the Vancouver public through the exhibition of innovative, engaging and responsible art work.

The Liu Lobby Gallery was established in 2010 under former Liu Director Peter Dauvergne’s leadership. The Gallery was founded by former Liu Scholar Lara Rosenoff Gauvin, who subsequently curated it for three years on a voluntary basis. The Gallery has since been curated by the following former and current Liu Scholars: Solen Roth, Oralia Gomez, Mascha Gugannig, Afuwa Granger (former Liu Visiting Fellow), Blake Smith, Miriam Matejova, and Jonathan Taggart.

Lobby Gallery Hours:
Monday – Friday, 8:00am-5:00pm
For more information, and for submissions, please contact either Lobby Gallery Curator Blake Smith or Jonathan Taggart at


The Suitcase Lobby Gallery

Past Exhibit
The Suitcase: Intergenerational Healing through Traces of the Past

By Liu Scholars Lyana Patrick & Ashli Akins
December 8, 2016 – February 28, 2017

After Lyana’s Gramma Aloo (gramma “mom” in Carrier) passed away, her parents gave her a suitcase containing materials she had used to make moccasins, gloves, and other items. The suitcase contained hundreds of paper cut-outs of hands and feet. Lots of caribou cut-outs (Gramma Aloo’s clan). Tubes of beads. These cutouts represented the day-to-day life of a Carrier (Dakelh) woman from 1948 to 1998 (the period represented by the items) – her favourite Earl Grey tea boxes, cereal boxes, advertisements, a government cheque, even her son’s exercise book from residential school.

This exhibit takes us on a journey through Gramma Aloo’s life, and in doing so, has acted as a piece of Lyana’s healing journey as she learns more about her grandma’s life story. The multi-media exhibit includes photographs, cardboard cutouts, explorations of the exhibit’s themes of intergenerational healing and reconciliation through the written word, and an invitation for the viewer to actively respond.

Lobby Gallery - Greenland

Past Exhibit
Picturing High Places in the Anthropocene: Continuity and Change in High Mountains and the Arctic

September 1st to November 30th, 2016

High places––mountains and the Arctic––are home to some of the planet’s most distinctive cultures, unique ecosystems, and compelling landscapes; they are also among the most environmentally sensitive areas on the planet. In this exhibition, environmental change researcher Graham McDowell draws together photographs from his work in high places (e.g. Greenland, the Himalayas, and the Canadian Arctic) to help ground-truth our understanding of the Anthropocene, a new period in Earth’s history. His photographs reveal the multitude of ways in which places, people, and ecosystems in high mountains and the Arctic experience and respond to environmental change, drawing attention to the tension between profound change and often underappreciated occurrences of socio-ecological continuity.

Bio:  Graham is currently a PhD student, Vanier Scholar, Liu Scholar, and Public Scholar at UBC, where he is affiliated with the Institute for Resources, Environment and Sustainability. Please find his full bio here

Past Exhibit
Against Disappearance: A Photographic Search for Memory

The show, which ran from May to August, 2016 featured selections from The Visual Memoir Project by Blake Smith, Liu Scholar & UBC PhD Candidate, Curriculum Studies in Art Education, along with works by 7 participating artists: Paul Best, Hari Im, Niloofar Miry, Kathleen Nash, Matthew Sinclair, Andrew Smith, and Joanne Ursino.

Sponsored by a grant from the Liu Institute for Global Issues.

For more information on this exhibition, please contact Blake Smith at:

Exhibit poster.

Ashley Akins

Past Exhibit
Woven in Time: Images by Ashli Akins

On March 31st, 2016 Liu Scholar Ashli Akins, and Quechua youth, Lisbeth Chavez Monge and Adrian Jimenez Suma discussed current changes faced by Quechua highland communities due to unsustainable tourism and development in the region, as as well as local community responses to globalization.

100% of the proceeds from Fair-trade handwoven Andean textiles went to Mosqoy, a charitable organization that fosters educational and cultural rights in the Peruvian Andes.

Sponsored by the Vanier Canada Graduate Scholarship, Interdisciplinary Studies Graduate Program, and the Liu Institute for Global Issues.

For more info on this exhibit, contact Ashli at

Woven in Time Exhibit poster.

mama + baba

Past Exhibit
“Ngom Pito Dano”/ “The Land Grows People”

Photos by Liu Scholar Lara Rosenoff Gauvin, PhD student in Anthropology

After two decades of war and mass internal displacement, residents of the Padibe Sub-counties, Lamwo District, Northern Uganda, requested portraits of themselves posing on their ancestral land.

The three portraits featured in the exhibit are just a few of the images Lara co-created and printed for community members in 2012. This project is funded by the BC Arts Council.


Past Exhibit
Tillikum Lens Photo Exhibition

Tillikum Lens is a program dedicated to empower and educate indigenous youth through image making. Photos were all taken by youth, with the help of experienced instructors who work with local communities and organizations to promote diverse perspectives and cross-cultural understanding.

Please find more details on Tillikum Lens here.

Photo credit: Aaliyah Chapman

Past Exhibit
The Dirt Museum Exhibition

With artists Omer Aijazi, Jon Beasley-Murray, Sarah Fessenden, Stephanie Fung, Mascha Gugganig, Bryn Letham, Nicola Levell, Tal Nitsán, Julia Ostertag, Ofira Roll, Melanie Schambach, Sarah Wen, Clayton Whitt, and Afuwa.

In The Dirt Museum, concepts and objects that have become invisible in ‘pure’ everyday practices find a new place – out of place. As museum objects, waste and undesirability offer an unruly twist to the conventions of ‘matter out of place.’ This display and normalization of ‘dirtiness’ provokes closer scrutiny of the intellectual and corporal responses to the dichotomy of dirty and clean.

Download the poster here.
Download the catalogue here.

Julie poetry

Past Exhibit
Resisting Voice: A Selection of Poems from 100 Days Kwibuka 20

Poems by Juliane Okot Bitek. Photographs by Juliane Okot Bitek & Wangechi Mutu. Songs by Maneo Mohale.

These poems are inspired by the photography of Wangechi Mutu. Using the evocative language of art, the poems and photographs attempt to capture resistance of voices that persist, those that will not forget the haunted days of, and beyond the genocide.

Learn more on Juliane’s website.


Past Exhibit
Life Off Grid: Reassembling Domestic Life 

Photographs by Jonathan Taggart. Download the poster.

“Off-grid” refers to homes that are disconnected from the electricity and the natural gas grid – homes (and sometimes entire towns) that are therefore self-sufficient for light, power, and heat. Off-grid homes are experimental labs for our collective future. Their way of life may be only one of many possible adaptations to the challenges presented by climate change, but the lessons off-gridders are learning today about living with renewable energy are the lessons we will all need to learn tomorrow in order to make our lives more sustainable, more respectful toward the environment, and less dependent on non-renewable resources

Past Exhibit
‘We are all the Same’: Children, War, and Humanity in Northern Uganda

Please click here for the poster.

Artist Presentation Storytelling by Juliane Okot Bitek, Liu Scholar.

Artist: Beth W. Stewart, Liu Scholar, in collaboration with children born into LRA captivity.


Past Exhibit
Taking Liberties and Policing Borders: Arbitrary Detentions and Deportation of Refugees and Migrants Roundtable and Activist Art Show

The Roundtable with local and international activists and practitioners focused on the rise of detention and deportation of refugees and migrants.

Guest speakers included Chris Morrissey from Rainbow Refugee Committee, Gina Csanyi-Robah with the Canadian Romani Alliance, and immigration lawyers Peter Edelmann and Lesley Stalker.

The exhibition, Busting Borders: Challenging the Violence of State Borders on Indigenous and Immigrant Persons through Art and Spoken Word featured various artists and a mural creation was led by Melanie Schambach.

Please find a poster here.

Past Exhibit
Spiritual Ecologies and New Cosmologies Convergence

The four-day Spiritual Ecologies and New Cosmologies Convergence included stories, a documentary, a panel discussion, and a new Lobby Gallery exhibition.

Spiritual ecology, art and shamanism were discussed at the Convergence Art Exhibit Opening on September 23rd, 2014.

See more details on the Convergence here and a poster here.

Photo credit: Florin Breuer

Past Exhibit
Seeing All Sides?
A Visual Invitation to Consider and Re-consider Local Environmental Issues and Efforts

How much do you notice urban green spaces? Are eco-friendly transportation options as friendly as we think? What are some impacts of “fashionable food”?

Vancouver’s emerging digital artist and photographer, Andrew  Sammons, presents a series of themed photographs that capture local environmental concerns and efforts. Exploring both bright and dark sides of our environmental choices, the exhibit is meant to encourage constructive dialogue about the aspiring “greenest city in the world” and its surroundings.

“Seeing All Sides” opened on September 16th, 2014 in the Liu Lobby Gallery and remains on display in the Liu lounge.

Partial proceeds will support the Environmental Youth Alliance, a local non-profit youth  organization working in the fields of urban environment and environmental health.

Andrew Sammons:

Past Exhibit
Hawaiʻi beyond the Wave, Hawaiʻi beyond the Postcard

The Hawaiian Islands have been defined as space of timeless romanticism where every attempt to explain my research the notion of ‘paradise’ remains almost indelible. Visitors are invited to 15 months fieldwork on the island of Kaua’i where the presence of several biotech companies has provoked increasing awareness over land use, food production, genetic engineering, and Hawaiian [food] sovereignty.

This art installation is a travelling exhibition that so far has toured to Chicago and Vienna, and after Vancouver will be traveling to Bhutan. Visitors are invited to reflect on the displayed issues by writing postcards that will be sent to the next location, Bhutan.

The postcards become part of the exhibition. Postcards thus become messengers on an issue that creates imperative lines of exchange across the globe.

Follow the lines here.


Past Exhibit
Familiar Icons

Familiar Icons intertwines themes of diaspora and relationships, using the notion of the icon, the sacred artefact, as a carrier and signifier of these relationships. As Afuwa’s family, which put down roots in South America in the early 20th century, expands from Guyana and Suriname to England to Hong Kong to Canada (and back again), she examines the bonds that connect them and hold precious; how they pass on these artefacts of their history, and how their new locations change how that preciousness is understood.

Download the poster here.

Past Exhibit

Part manifesto and part how-to manual, DIY is a series of linked video works that combine old fashioned recipes, the latest cultural theories, guerilla gardening tactics, situationist performance antics, wiki-wisdom and homespun logic to promote global biodiversity and local food sovereignty. Both a meditation on cultural and corporeal survival and a crash course in sustainable living, DIYgives you everything you need to start disentangling yourself from the corporate food chain and learning how to grow, sow and share in the place where you live.

Past Exhibit
Drowning Pakistan: Humanitarian Assistance in a Troubled Space

Exhibit by Omer Aijazi

First cup of tea you become an acquaintance
Second cup of tea you become a friend
Third cup of tea you become family

In Pakistan, tea or ‘chai’ is offered as a gesture of hospitality, human dignity and hope.

The Pakistan 2010 monsoon floods were cited by the United Nations as the largest humanitarian crisis in living memory. The environmental catastrophe affected 20 million people and highlighted the calm, accretive violence of slow, raging waters. Set in post-flood Pakistan, this visual testimony embraces the unsettling effects of community knowledge and challenges the privilege of social interventionism. Juxtaposing photographs with text, the installation grapples with notions of counter-narratives and ‘voice’ even where and when words are not actually spoken.

Past Exhibit

Exhibit by David Gooderham

Gooderham’s paintings reach into the otherwise inexpressible nature of war. He engages both with the difficulty of image making – the sufficiency of visual language to express complexities – and challenges the gulf of perception and comprehension that impairs or anaesthetizes public engagement. This work is part of a series started in 2002 in the lead up to the invasion of Iraq, which looks in particular at the destruction of cities by air war.

For more, click here.


Past Exhibit
Writing in Community

Thursdays Writing Collective, a free program for writers on Vancouver’s Downtown Eastside, will launch an exhibition of the group’s published anthologies, collaborative projects, photos and videos, including a 20-minute digital film project. At the opening on November 7th, Thursdays Writing Collective director Elee Kraljii Gardiner will lead a two-hour live social writing encounter themed on the issues of social justice and accessibility. This laughter-filled, interactive event is for anyone curious about the intersection of creativity and public policy. We’ll share off-the-cuff responses to fast writing prompts and invite participants and visitors to leave their textual responses on display at the Lobby Gallery as an artifact of the community created through this writing encounter. The Collective, running since 2008, is comprised of activists, academics, slam poets, novelists and storytellers and includes 150 writers who explore issues of self-determination through their work.

More information here.

Past Exhibit
eat ART gBikes

A gBike is a pedal-powered creation capable of generating electricity. These range anywhere from bicycles retrofitted with hub motors to metal sculptures designed to house one. The goal of gBikes, as with all other eatART projects, is to promote energy awareness and educate the public on the environmental impact of its use. Currently gBikes is working on BikeCar, a 4-person mobile energy platform.

More information here.

Past Exhibit
Things With Wings

Sculptural Installation by Charmaine Lurch

Charmaine’s  current environmental work is an installation that invites viewers to immerse themselves in a landscape where nature’s champion pollinators, bees, come to life through a display of large-scale sculptured wire.  Visitors to the display are more than observers; they can also be participants in this interactive installation and leave with an enhanced understanding of the importance of biodiversity, as it relates to the survival of the bee.  The sculptures explore the human – nature relationship when light is added and human and bee intricate shadows dance to interact with the space. These wire relief sculptures are inspired by specific native bees.

More information here.


Past Exhibit
The Labour of Altered Landscapes

Photo exhibit by Tucker Sharon

This work seeks to augment the iconography of deforestation by examining the way that labour regimes intersect with processes of forest domestication and devastation in the Peruvian Amazon. In particular, the work that Hugh Raffles (2002) and Richard White (1995) have done linking work and labour to the craft of place-making is mobilized to question what kinds of labor practices are fed and engendered by the diversion of ecological processes into commodity flows. The resulting images, therefore, deal less with the scarred landscapes that typify the iconography of Amazonian deforestation. Instead they show the work of day laborers and arrendatarios planting cacao plantations or the stevedores and heavy machinery that load and unload illegal timber destined for export.

Past Exhibit
Waterscapes Reframed

Photos by Gu Xiong. Assorted Films Presented by Gu Xiong, Chris Lee, Jennifer Jihye Chun.

Waterscapes Reframed explores the human displacement and environmental devastation associated with the Three Gorges Dam, which stretches over two kilometers across the Yangzi River. The world’s largest power plant and arguably the largest public works project in history, the Three Gorges Dam has already submerged over 100 towns and displaced 1.3 million people, and projected figures estimate that as many as 6 million people will have been relocated over the next 10 to 15 years. How do we understand the vast social, economic, political and ecological transformations associated with the dam? What role does art, as well as interdisciplinary collaborations between artists and researchers, play in advancing such understandings? This exhibit will feature the work of artist Gu Xiong and research collaborators Chris Lee and Jennifer Jihye Chun in re-imagining the spaces and experiences of global migration along the world’s major waterways.

For more information, please visit the Waterscapes blog here.

Past Exhibit
Move It All Up

Exhibition by Tal Nitsan

Butterflies and witches are two images that many organizations and individuals in the women’s movement in Guatemala identify with. They use these symbols to reflect their hopes for a better future and advocate for change. This exhibition is a collection of material objects created by different women’s organizations, as well as images from various events organized by the movement, which Tal collected during her doctoral fieldwork in Guatemala. Bringing these images together attempts to unpack the symbolic ways through which women in Guatemala represent their everyday struggles.

Click here to download poster

Past Exhibit

Curated by Patrick Cruz and Chaya Go

In his essay, Ang Pag-lbig, Filipino revolutionary, Emilio Jacinto, writes that love is the promise of liberation and joy for a people in suffering. The tagalog word ‘MAHAL’ translates into ‘LOVE’. It refers to that which is dear, but also means expensive. Perhaps Jacinto’s promise of fulfilment is also a costly one. MAHAL is an artistic exploration of the desires which carry the Filipina/o across borders.

Past Exhibit
Sumaxs Affect

Collaborative Work

The mural is part of Jennifer Wolowic’s PhD Dissertation at the University of British Columbia. As a visual anthropologist, she collaborated with sumaxs (the Sma’algyx translation for young people) in Prince Rupert, British Columbia, and created thousands of images of First Nations youth and their families. As a community project, the mural publicly displays the pictures to affect emotions and make them meaningful for the friends, families, and individuals who are connected to the images. Twenty year old Kyle Wesley, Adiks Sim Gibuu, who lives in Prince Rupert, designed the mural. He is from the house Kwaxsuu in the Nisga’a village of Gingolx and created the design under the mentorship of his grandparents Jack and Rose Temple.

Past Exhibit

Work by Greg Masuda

Dispossession is a very large  (26″ x 113″ wide) photocomposite that tells a story of the history of discriminatory displacement of communities on the Downtown Eastside of Vancouver, beginning with the colonization of First Nations, then the internment of Japanese Canadians, and finally with the gentrification of the present Downtown Eastside neighbourhood.

Click here to download poster.

Past Exhibit
Our Home |&| Native Land: (re)considering Canada’s roots and contemporary reality

Curated by Jessica Rosinski

What can emerge when the second line of the Canadian national anthem, “Our home and native land”, is critiqued by indigenous and non-indigenous allies/artists alike?
Canada is facing increasing pressure, both internationally and domestically, to respond to indigenous struggles for self-determination. Internationally, Canada has been criticized for its failure to fully accept and implement the UN Declaration on the Rights of Indigenous Peoples. In refusing this new international norm, Canadian discourses around truth and reconciliation appear contradictory. Within Canada, indigenous activists are questioning the state’s claim to exclusive jurisdiction and state sovereignty, given that this settler state was built on top of the lives and territories of indigenous peoples. Within these debates are settler Canadians (non-indigenous peoples), who by virtue of their positions of privilege can and often do choose to ignore the complicated reality of their country. Through art, this collaborative public intervention is intended to ignite conversations around land, solidarity, and historical amnesia in Canada.

Past Exhibit
Ab/Ob-jection: Encountering Youth and the City  

Curated by Stephanie Skourtes

Featured work from local Vancouver photographers, offers viewers a critical, counter-conventional, portrait of urban, working-class, ‘girl’ culture. The exhibition is the visual extension of a larger UBC ethnographic research project, exploring how working-class ‘out of school’ female youth living at the margins of the post-industrial city in 21st century Canada express and experience social and spatially organized—and often enforced—exclusion. It takes the form of a figurative, non-representational documentary photography exhibit showcasing, through visual imagery and text, the spatial imaginary of Vancouver that working class girls move in and through as they shape their culture(s).

This alternative photographic representation consciously considers ways of symbolizing (and thus revealing for public inspection) existing social constraints. In this way the exhibit itself is a transformative visual depiction conducive to transformative political praxis.

Past Exhibit
Photography in a State of Exception: Documents of Contemporary War

Work by Allen Ball

Canada is at war. Its role, particularly in the enduring Middle Eastern conflicts, remains ambiguous, to say the least…is Canada peacekeeping, peacemaking or peacebuilding?

This project engages with the concrete problems associated with the representations of global conflict in our image-saturated contemporary context. Moreover, it specifically addresses the question of how an artist can represent their experience of modern warfare? Exactly what is the relationship between the concept of spectacle, in respect to war and everyday life? How does the spectacle of the sufferings of others affect us? And, can the numbing effect of the photographic and cinematic culture of modern war be countered and resisted?

Past Exhibit
Mexico in Alaska

Curated by Sara Kormanisky

The images presented are postcards produced for a restaurant in Anchorage, Alaska called “Mexico in Alaska”. They show images from Mexico (of the Chichen Itza archaeological site, primarily) superimposed against images of Alaska (mountains, or tundra). Alaska, and “the north” more generally, and Latin America, and Mexico specifically, have powerful imaginaries associated with them, and interesting things happen when they are brought together through migration movement. Sara’s dissertation research is about the historical and ongoing connections between Alaska and Mexico (i.e. labour migration from Mexico to Alaska) and how and why those connections have been obscured or ignored. When the South moves into the North, it can make us think about both “Alaska” and “Mexico” in different ways.

Past Exhibit
Drawing Maps, Telling Stories

Work by Juliane Okot Bitek

Storytelling, ododo, in northern Uganda is traditionally told after dinner and over a fire. It is a communal exercise as well as a way of passing on culture and lessons to the younger community. Storytelling as a way of life was largely extinguished by the insecurity and displacement of people in northern Uganda during the two-decade war between the Lord’s Resistance Army and the government of Uganda. Writing the stories of three women survivors of the LRA is my attempt at a textual ododo, storytelling. This exhibit is part of an exercise in re-examining the maps of northern Uganda and Southern Sudan to include, and reflect on, the significance of these places in the making of these women.

Past Exhibit
Canada & Africa: Building a New Future

By the Africa Canada Accountability Coalition

The Africa Canada Accountability Coalition is currently undertaking a policy outreach project to formulate a comprehensive report on Canada’s policy options in the Great Lakes region of Africa.

The exhibit explores the divide between sometimes seemingly inaccessible academic policy recommendations and emotionally fueled public advocacy campaigns lacking rigorous research. Visitors are encouraged to critically examine advocacy and aid, and will be engaged through innovative web tools in conjunction with social media to facilitate input on the policy recommendations.

For more information about the exhibit, please visit

Past Exhibit
Citizenship without the Nation 

These images of citizenship were provided as part of conference series, Citizenship from Coast to Coast to Coast. The series aims to spark a conversation about citizenship, to discuss what it means to be a member of a community and of a country, and to examine how notions of citizenship at the city level are related to and diverge from those at the regional and national levels. The first installment of the series – Citizenship without the Nation – was hosted by the Liu Institute for Global Issues and initiated a collaboration with the Trudeau Foundation that will see sister conferences hosted in Iqaluit in spring 2011 and Halifax the following fall.

Past Exhibit
Into Tibet 

By Ryan Gauvin

2009 marked the fiftieth anniversary of China’s occupation of Tibet. Over the course of this occupation, more than a million Tibetans have been killed, religious sites have been destroyed, Tibetans are a minority in Lhasa, and the Tibetan way of life has been seriously threatened. The truth of the situation in Tibet is not widely acknowledged however, due in part to restricted media access, and in part to the Western tendency to regard Tibet as an eternal Shangri-La. When protests erupted in Lhasa and spread across the world in March 2008, the world paid attention for a brief moment. Yet within weeks, Tibet had re-assumed its position in Western media as an idyllic land of monks and mountains, in spite of the bleak reality on the ground.

For more information about the exhibit, please visit

Past Exhibit
Buddhism and the Global Bazaar at the place of Buddha’s Enlightenment

By David Geary, PhD, Department of Anthropology, UBC

On June 26, 2002, the Mahabodhi Temple Complex at Bodh Gaya was formally inscribed on the UNESCO World Heritage List. As a place of cultural heritage and a monument of “outstanding universal value” this inclusion has reinforced the ancient significance of Bodh Gaya as the place of Buddha’s enlightenment. At the same time, this universal status has also led to new contests over the urban landscape and the effects of international conservation and tourism development on the ritual relationship with sacred space and the socio-economic lives of local people. This photographic exhibition explored through visual media the ways in which the central place of Buddhism intersects with the sacral-economic dimensions of the global bazaar in North India today.

The exhibition encompassed 20 images including a short historical overview of Bodh Gaya as well as how these photographs tie into the larger doctoral research project provided by the exhibitor.

Past Exhibit
Faith, Fencing & Fate: New Cultural Landscapes of Migration in the U.S.-Mexico Borderlands

By Juanita Sundberg and Michael Hyatt

Crossing the southern border of the United States without authorization is now a life-threatening journey. As undocumented migrants travel north, they interact with and transform the landscape in small, yet significant ways through the things they leave behind, from shelters and shrines to quotidian objects.

This collaborative project by Juanita Sundberg, a human geographer at UBC and Michael Hyatt, a social documentary photographer, records and represents these new cultural landscapes of migration in Arizona’s Altar Valley. Whether ephemeral or enduring, the landscapes left behind invite compelling questions about the sensory dimensions of migration, the ways geopolitics, bodies, and desert landscapes meet.

Past Exhibit
Personalizing the World Health Crisis

By Robert Semeniuk
Artist lecture part of tribute to Dr. George Povey

Fourteen million people die each year from treatable diseases like HIV/AIDS, malaria, tuberculosis, and diarrhea, while another two billion are infected. In addition to these main killers are the numerous little known diseases like sleeping sickness, river blindness, rotavirus, and trachoma, all of which shatter families, jolt economies and destabilize security and food supplies. More than one billion people lack access to clean water, and 2.6 billion lack access to sanitation.

By living among, and forming intimate friendships with the diseased and disenfranchised people whose stories are documented, this project aims to give a voice, hope and dignity to the victims, and humanize the crisis by putting faces and personalities on the overwhelming statistics.

Past Exhibit
Her Name is Beatrice, My Name is Lara: experiences in witnessing, internal displacement and conflict in Northern Uganda after 23 years of war

By Lara Rosenoff, PhD student and Liu Scholar

At certain stages in the 23-year conflict in Northern Uganda, over 1.8 million people, or 90% of the northern population, had been displaced into severely overcrowded and squalid internally displaced person’s (IDP) camps, resulting in “almost 1000 excess deaths every week…” (Ugandan Ministry of Health, 2005).

The various forms and means of dissemination examine a documentary’s potentials and pitfalls in critical “witnessing,” while exploring how voices from those living in the centre of conflict can challenge dominant media and humanitarian narratives. Lara Rosenoff returned three times over two years to visit Beatrice in Padibe Internally Displaced Person’s Camp in Northern Uganda.

For more information about the exhibit, please visit