Khadija von Zinnenburg Carroll

brexit, cameron, detention, immigration, oxford, archive

Khadija von Zinnenburg Carroll works on colonial histories through contemporary art. She is currently working on a book entitled Fragile Crown: Empire, Collection, Restoration. Her art practice involves montaging words and images within films and installations that voice alternate histories through texts and performances. On this website you can read about the stories she is working on in situations where dislocation and conflict lay bare the historical relationships between humans and objects. Art in the Time of Colony, her monograph was published in 2014, and her other publications can be seen below and on This website presents a selection of the exhibition outcomes of her reserach. Her performances and videos have been shown most recently at Savvy Contemporary Berlin, Project Space Dublin, The Irish Film Instiute, Extra City Kunsthaal Antwerp, Institute of Contemporary Art London, the National Museum of Australia, and the Marrakech Biennale.

Khadija holds a PhD from Harvard University and has curated/co-created various exhibitions internationally including The Lost World (Part 2), Kranich Museum, Vienna Zocolo, and Homebase IV Berlin. The second edition of her collection of poems Interrogation at the Embassy are in print with Edition Taube.

Inquiries are welcome, also from prospective PhD students. See the Birmingham University pages, where she is the Professorial Chair of Global Art, for details.

Download full CV Recent Media appearances include Smithsonian Channel and BBC Documentaries about Marianne North

Radio Interview on WDR German National Radio with Khadija about colonial loot and repatriation

Radio Interview with Khadija about Homebase IV (both in German)





Art in the Time of Colony, (Ashgate Press, 2014 / 2nd Edition Routledge 2016)

The Importance of Being Anachronistic, (Melbourne: Discipline, 2016)

Botanical Drift, with Petra Lange-Berndt, (Berlin: Sternberg Press, 2017)

Fragile Crown: Empire, Collection, Restoration, forthcoming.


Articles in peer-reviewed journals

‘The Presence of Absence: Tommy McRae and Judy Watson in Australia, the imaginary grandstand at the Royal Academy in London’, World Art Journal, 4.2, (2014).

‘Fight the dragon long, the dragon you become: Performing Viewers in the Graffiti Monument’, Laboratorium, 2 (2013).

‘Koloniale Kunstgeschichte und die Ästhetik der Klassifikation: Wilhelm von Blandowski's Encyclopaedia von Australien’, Mitteilungen des Freundeskreis für Cartographica, 22 (2013) 2-35.

‘Visualizing a Continent: Blandowski and the Encyclopaedia of Australia 1862’, Arcadia, online journal (2014).

…(excerpting collections) from a history of interventions, On-Curating: Reinterpreting Collections, (Zurich, University of the Arts), April 2011, 20-24.

‘The Very Mark of Repression: The Dismantling of the Palast der Republik and the New Schloss Berlin’, Architectural Design Journal, (Sept. 2010), 10-18.

‘Humboldt's Meal Micropolitics: Exploring Ethico-Aesthetics’, Inflexions, 3, (2009)

‘Re-membering the Body, J.J. Winckelmann’s Ekphrasis’, Word & Image Journal of Verbal and Visual Inquiry, 21/3 (2005) 261-269.


Contributions to Books

Suspense in the Cabinet: The case of Montezuma’s Crown, between Mexico City and Vienna. In The In-Betweenness of Things: Materialising Mediation and Movement between Worlds
~ A Cabinet of Curiosities ~, Ed. Paul Basu. Comissioned, forthcoming.

Cloth as a Postcolonial device. In: A Companion to Textile Cultur, Ed. Jennifer Harris, (London: Wiley-Blackwell), 2015. Comissioned, forthcoming.

‘The Aesthetics of Classification’, in N. Zschocke (ed.), Universal - Specific. From analysis to intervention?, (ETH Zürich, 2015) In press. 

Object to Project: Artist’s Interventions in Museums. In: Sculpture in the Museum, Ed. Christopher Marshall, (London, Ashgate Press), 2012.

‘Curating Curiosity: Wonder’s Colonial Phenomenology’, in: Timothy Mehigan (Ed.), Frameworks, Artworks, Place: The Space of Perception in the Modern World, (Amsterdam, Rodopi Press), 2008, pp. 203-225.  Reviewed by Eugenia Fratzeskou, Leonardo, (Cambridge, MIT Press, 2008), Vol. 42, No.1, 86-87.


Aschley Painting at the Embassy & Penumbra Cadiz, (London: Molly Bloom, 2013)

Three Tiles of Text, In: Her Eyes and My Voice: A Relationship in Ekphrasis, Connie Butler and Lauren Godfrey (Eds), (London, Hato Press, 2012).

Interrogation at the Embassy, (Stuttgart: Edition Taube, 2010, 2nd Edition 2012).

Façades, In: The Harvard Dudley Literary Review, Volume 11, (Cambridge, Harvard University Press, 2005), 66-67.


Critical Essays and Reviews

Australia by Wilhelm von Blandowski, Australian Aboriginal Studies Journal (Canberra: Australian Aboriginal Studies Press, 2012), 1, 105-108.

The Object as Subject: dOCUMENTA 13, Artlink (Adelaide: Artlink, 2012), 32, 81-85

Breaking with Tradition. Artlink Indigenous, (Adelaide, Artlink), June 2011.

Documentary as Evidence?, In: Kaleidoscope, Ed. Joanna Fiduccia, (Milan, Kaleidoscope), 8, Sept. 2010.

Culture Warriors. Artlink: Blak on Blak, (Adelaide, Artlink) Vol. 30, 1, March 2010, 112-115.

Desert Visions Reach Across an Ocean, In: The Sydney Morning Herald, (August 25, 2007). Also printed as exhibition text at The Kluge-Ruhe Aboriginal Art Collection, (Charlottesville, University of Virginia, 2007).

Our culture's still cringing, In: The Age, (July 25, 2005)

Within Without: Elisabeth Weissensteiner, Sculpture, 24, 3, April 2005.

Paul Capsis at home in Vienna, In: RealTime, 47, (2002), 30-36


Exhibition Catalogues

The Artist as CV, in: Super Vero, (Vienna: Academy of Fine Arts), 2013.

The Rise and fall, with Alex Schweder, in: Chan, Carson and Nadim Samman (eds),Higher Atlas/Au-delà de l’Atlas, (Berlin: Sternberg Press, 2012) 313-336. 

Kranich Museum, (Hessenburg: Kranich Museum, 2011).

Le Musée comme la Silhouette, in: Jean-Charles Agboton-Jumeau (Ed.), Exposition 5-31 Janvier 2009, (Cherbourg-Octeville: Ecole des beaux-arts de Cherbourg-Octeville, 2009), 22-29.

Europe Lost and Found, in: Basekamp (Ed.), Plausible Artworlds, (Philadelphia: Institute of Contemporary Art, 2007), 6-8.

The Graffiti Monument: Rotated History in the Balkan. Lexicon of Provisional Futures, Eds. Ana and Marc Djoric, (Amsterdam, Stealth), 2009, 2-5.

Living Monuments, with Azra Aksamija, in: Mihnea Mircan (Ed.), Memosphere: Rethinking Monuments, (Venice Biennale: Revolver Press, 2007), 4-6. Also published in an installation titled Living Monuments + Track Changes, in: Lost Highway Exhibition, (Ljubljana: Skuc Gallery, 2007), 10-12.

6: Six artists from the MIT visual arts program, (Cambridge, MIT Centre for Advanced Visual Studies and Space Other Gallery Boston, 2006).


Contributions to Conference Proceedings

‘Vitrinendenken: Vectors between Subject and Object’, in: G. Ulrich Großmann and P. Krutisch (eds), The Challenge of the Object, Congress of the International Committee of the History of Art, (Nuremberg: Germanisches National Museum, 2013)

Small Mirrors to Large Empires: Towards a Theory of Meta-museums in Contemporary Art (2008). Crossing Cultures, Economies of desire: art collecting and dealing across cultures, Proceedings of the 32nd Congress of the International Committee of the History of Art (CIHA), Ed. Jaynie Anderson, (Melbourne, Melbourne University Press), 2009, 1012-1017.


Artist Residencies held
2013                 Australian Print Workshop, Melbourne, artist in residence
2012                 Wysing Arts Center, UK, escalator artist in residence
2012                 Riad el Fenn, Marrakech, biennale artist in residence
2011                 La Cieba Grafika, Print Workshop, Mexican cultural forum artist in residence