FUTUROMA: Venice Biennale 2019

11 May – 24 Nov 2019


Collateral Event For The 58th Venice Biennale 2019

Curated by Daniel Baker
Commissioned by ERIAC


Dorsoduro, 417 (Fondamenta Zattere allo Spirito Santo)
11 May – 24 November 2019
Promoter: European Roma Institute for Arts and Culture (ERIAC)

FUTUROMA draws upon aspects of Afrofuturism to explore Roma contemporary art’s role in defining, reflecting and influencing Roma culture. FUTUROMA offers new and spontaneous re-interpretations of Roma pasts, presents and futures via a fusion of the traditional and the futuristic in order to critique the current situation for Roma people and to re-examine historical events.

FUTUROMA features 14 Romani artists from 8 countries: Celia Baker, Ján Berky, Marcus-Gunnar-Pettersson, Ödön Gyügyi, Billy Kerry, Klára Lakatos, Delaine Le Bas, Valérie Leray, Emília Rigová, Markéta Šestáková, Selma Selman, Dan Turner, Alfred Ullrich, László Varga.

I am presenting Romani Embassy and there will a performance for the opening on 10th May 2019

Delaine Le Bas: Tutis A Rinkeni Moola, Abri

11th January – 7th March 2019
private view 10 January 2019  6pm-9pm

Evening of Performance and in Conversation with Christine Eyene
7 February 2019  6:30pm – 9:00pm


Yamamoto Keiko Rochaix is pleased to announce a solo exhibition of Delaine Le Bas, an English artist from Romany background.

The mixed-media installation comprises paintings, drawings, embroideries and other stitch works on fabric, and is partly inspired by the works of late Damian Le Bas. The exhibition is an intricate weaving of her interests in Greek mythologies, women’s and minority issues and other social agenda, made all the more powerful with palpable sense of her inexhaustible devotion and emotion toward her late long-time partner in life, which in turn, inseparable with their common passion for safeguarding the rights and dignity, in addition to the cultural tradition of the ‘gens de voyage’ or gypsies across Europe.

Yamamoto Keiko Rochaix
19 Goulston St, London, E1 7TP
Open Wednesday – Saturday, 11am – 6pm


Orlando at the present time

Our opening exhibition, ‘Orlando at the present time’, brings together contemporary artistic responses to Virginia Woolf’s landmark novel Orlando: A Biography, and marks 90 years since the novel’s original publication. Works by artists including Kaye Donachie, Paul Kindersley, Delaine Le Bas and Matt Smith appear alongside rarely seen letters, photographs and objects pertaining to the original publication of the novel.

The exhibition, taking place in Charleston’s new Wolfson Gallery, follows the narrative of Virginia Woolf’s 1928 novel, Orlando: A Biography. This novel tells the tale of an Elizabethan nobleman through a narrative which covers 400 years of history, exploring themes of gender, sexuality and identity. ‘Orlando at the present time’ examines the historical background to the novel, while considering its relevance and resonance in contemporary society, through an engaging display of historical and contemporary artworks, costumes, archival evidence and new commissions.

Delaine Le Bas (b. 1965) has been commissioned to respond to two photographs published in Orlando: A Biography. The first, ‘The Russian Princess as a Child’, is a portrait of Vanessa Bell and Duncan Grant’s daughter Angelica, taken in the 1928 at their house in the South of France. The second, ‘Orlando around the Year 1840’, shows Vita Sackville-West dressed in embroidered shawls and a large hat in a photograph by Vanessa Bell. Both images interested Le Bas for the way they borrowed from and manipulated other cultures.  Her Romany background informs much of her work, and Le Bas was struck by Woolf’s insightful descriptions of gypsy life and culture and Orlando’s responses to it. Her photographic response engages with notions of exoticism and cultural appropriation.

8 Sept 2018 – 6 Jan 2019 (extended to 17 Feb 2019)
Charleston Lewes

Medea Rromnja

Saturday, January 26, 2019 at 8:30 PM – 11 PM


I am Medea.
The woman at the stake.
Who was accused a child murderer by Euripides.

I am Medea.
Who shouldn’t, couldn’t, and didn’t want to find a home.
The woman who craved, feared, and wanted everyone dead.

WE ARE MEDEA: Rroma, on the outskirts of the cities. Spat on, threatened, chased away. You call our children pestilence.
You call yourselves civilized and us barbarians.


MEDEA RROMNJA explores and dissects the myth of MEDEA, from which an international team, consisting of Rroma and non-Rroma, creates a powerful performance that not only reveals (unconscious) prejudices, but also offers Rroma assured departure points to reclaim their own history and future.

(Languages: German, English, Romanes, with German and English subtitles)

made by/with:
Mihaela Dragan, Sakip Jusic, Estera Iordan, Anna Koch, Delaine Le Bas, Slaviša Marković, Moritz Pankok, Ramona Rahimic, Matthias Schellenberger, Benjamin Schultz, Theresa Selter, Dafni Sofianopoulou, Estera Sara Stan, Flo Thamer, Tina Turnheim, Tamara Weber, Luca-Zoé

Artistic Direction: Slavisa Markovic, Moritz Pankok
Scenography: Delaine Le Bas
Text: Tina Turnheim, Delaine Le Bas, Mihaela Dragan
Producer: Sabrina Apitz
Music: Flo Thamer
Technician: Benjamin Schultz
Video: Matthias Schellenberger
Theatre Educational Work: Anna Koch

Staged with the support of RomArchive – Digitales Archiv der Sinti und Roma, funded by the Kulturstiftung des Bundes, the Senate Department for Culture and Europe, the Theresia Zander Foundation and the Foundation Kommunikationsaufbau.

Tak Theater Aufbau Kreuzberg

Prinzenstraße 85 F
Kreuzberg, Berlin, Germany 10969

Untouchable Gypsy Witch

How does it feel to be a minority within a minority? The other within the others? An outsider amongst the outsiders? The installations, photography, film and performance of Delaine Le Bas visualise, wrestle with, and interrogate this situation.

She was full six feet high, wore a man’s great-coat over the rest of her dress, had in her hand a goodly sloe-thorn cudgel, and in all points of equipment, except her petticoats, seemed rather masculine than feminine. Her dark elf-locks shot out like the snakes of the Gorgon, between an old-fashioned bonnet called a bon grace, heightening the singular effect of her strong and weather-beaten features, which they partly shadowed, while her eye had a wild roll, that indicated something like real or affected insanity.
-Sir Walter Scott, description of Meg Merrilies, from Guy Mannering

“An Amazon? A Gorgon? A Gypsy? An Outsider? A Witch? Maybe all of these? When I read Scott’s words about Meg Merrilies, I feel could almost be reading about myself. I was always taller than everyone else when I was growing up … The one who was on the outside of everything. Outside when I was at school, when I was at home … When I was amongst my family, especially the extended family. I loved who we were but somehow I didn’t fit. I was different even amongst a group who were perceived as being ‘others’.”
– Delaine Le Bas 2017


Untouchable Gypsy Witch at Transmission (3rd November to 8th December 2018) features new art by Delaine Le Bas alongside older works, some of which will be exhibited for the first time. They express how being radically diverse feels, and what this means to her.

Delaine will be using the week of the 29th October – 3rd November as an Open Studio and will have a lunchtime talk from 1-2pm at Transmission on Wednesday 31st October and an evening talk in partnership with Glasgow Womens Library at 6- 7:30pm in the GWL Community Room.

This exhibition coincides with a moment in history when ‘witch hunts’ are taking on new and insidious forms, directed at those on the fringes of Western society, while elsewhere in the world, being classified as a witch can still cost you your life.

OPEN STUDIO & Artist Talk with Delaine Le Bas

Transmission Gallery / 1pm – 2pm / Wednesday, 31 October 2018

Artist Talk: Delaine Le Bas

Glasgow Women’s Library / 6pm – 7.30pm / Thursday, 1 November 2018

3rd November – 8th December 2018
Transmission Gallery Glasgow


The House Of Le Bas: Gypsy Couture

The 6th Athens Biennale flirts with the term, the attitude, the (im)possibility of ANTI, asking: How does opposition play out today? What kind of identities does it forge? ANTI deals with phenomena of normalization of opposition and non-conformity, from politics to web culture, from videogames to Netflix, from Žižek to Rihanna.

ANTI, curated by Stefanie Hessler, Kostis Stafylakis and Poka-Yio, considers attitudes of opposition, non-conformity and marginality. Instead of assuming a position of critical detachment, ANTI introduces us to the pleasure and discomfort embodied in both revolt and reaction. It does not seek to merely outline such fantasies; we cannot fight reactionary culture and politics in the “post-truth” era with yet another ANTI. To deal with ANTI means to oscillate between power and revolt by internalizing, reenacting or cannibalizing both. As such, AB6 is designed as a distilled, intensified reality — a constellation of functional spaces that invites visitors to indulge in ANTI. These devices assume forms of actual domains shaping our lives today: the gym, the office, the tattoo studio, the dating website, the migration office, the shopping mall, the nightclub, the church, the dark room. The Athens Biennale aims to instigate the experience of ambiguity, polarity and contrariness inherent in ANTI by lubricating the absurd personification of such currents. The exhibition, here, becomes a purgatory without a purge.

More than 100 international artists, media creators and theorists will participate in ANTI.

26th October – 9th December 2018
Athens Biennale 2018: ANTI