Bust of Queen, adorned with regalia of empire including skulls, tropical foliage, brass plaques, and replicas of military insignia including medals of imperial conflicts.

Past exhibition

17 October 2024 – 9 February 2025

Room 35

The Joseph Hotung Great Court Gallery

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What have we here? In a collaborative exhibition exploring histories of British imperial power, renowned Guyanese-British artist Hew Locke turned his lens on the British Museum collection.

In this groundbreaking show, Locke (born 1959) explored, questioned and challenged narratives of British imperialism through objects from the British Museum collection, alongside specially commissioned new works. Offering a fresh perspective on the British Museum's history and collection, which are closely tied to those of the British empire, Locke explored the messy and complex ways museums are implicated in these histories.

Locke, who was born in Edinburgh and spent his formative years in Georgetown, Guyana, focused on Britain's historical interactions with Africa, India and the Caribbean, all of which had a significant impact on the history of Guyana – informing a very personal exploration of the objects on display. Using interventionist techniques, he reframed historical objects, from the earliest surviving drawings of Indigenous Americans by a European artist to a Guyanese Akawaio feather headdress.

The Watchers, newly commissioned sculptural works by Locke, formed a central part of the exhibition, with figures observing visitors from vantage points around the exhibition, and spilling out into the Museum's Enlightenment gallery (Room 1).

This bold and exciting co-curated exhibition provided an opportunity to open up ongoing discussions around questions of history, ownership and identity.

Hew Locke: what have we here? was created by Hew Locke and the British Museum, with the assistance of Indra Khanna.

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Supported by

Cockayne logo
London Community Foundation logo

Cockayne – Grants for the Arts: a donor advised fund held at The London Community Foundation.

With further support from

Stanley Thomas Johnson Foundation

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