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# Who Goes Hunting Does Not Cough
- URL: https://aparaat.ghost.io/who-goes-hunting-does-not-cough/
- Published: 2026-07-13T18:14:00.000Z
- Updated: 2026-07-27T12:57:56.000Z
- Author: Kristaps Brize
- Tags: calendar

September 11 - October 11, Helsinki, Finnish Museum of Technology... 

*Who Goes Hunting Does Not Cough* is a group exhibition and a series of public events curated by [Kisito Assangni](https://www.pixelache.ac/posts/another-story-an-interview-with-curator-kisito-assangni?ref=aparaat.ghost.io) for Pixelache Helsinki. Realised in collaboration with the Finnish Museum of Technology and with EMMA Espoo Museum of Modern Art, the project will see the light in Autumn 2026\. It introduces the public to the works of fifteen international artists from different contexts who take on the concepts of power relations, decolonial aesthetics, affective spaces, resilient communities, new technologies, and find them reflected in new visualities conducive to look towards the future of the museum as a lived experience.

Participating artists: Kongo Astronauts, Yto Barrada, Neïl Beloufa, Black Quantum Futurist, Eden Tinto Collins, Theo Eshetu, Miatta Kawinzi, Christian Nyampeta, Johan Thom, Sofia Yala, and five artists based in Finland which will be revealed later.

Curator Kisito Assangni: “Combining video, sound, photography, video games, installation, film 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 world-views. The title, *Who Goes Hunting Does Not Cough,* derives from an African proverb which means sometimes, despite the importance and place of projects, you have to let the results speak for themselves. Especially, in a practice where the process holds as much importance as the outcome, and where the notion of an unfinished, remixable project is central. Media art, through its inherently interdisciplinary, participatory, and technologically responsive nature, has the capacity to radically reshape the future of the museum––transforming it from a static repository of objects into a dynamic site for the co-production of knowledge.”