Curator Nav Haq on the exhibition The Geopolitics of Infrastructure

Our summer exhibition brings together 13 artists and artist duos who engage with the enchantment and power dynamics of infrastructure. Why this theme in particular? And what does such a group exhibition mean for the artists — and for the museum? A conversation with curator Nav Haq.

Where did the idea for this theme come from?

Every summer, Muhka organises a group exhibition around social issues explored by contemporary artists. Many artists are currently drawn to questions of international infrastructure: systems of communication, transport, trade and energy, as well as public provisions such as education and healthcare, and even military infrastructure — which in turn destroys those very systems.

Building and maintaining such systems requires international cooperation, which makes infrastructure inherently geopolitical. The participating artists each address the subject from their own local context. Their varied perspectives combine into mutually reinforcing insights. Muhka is the first museum to stage a major exhibition on this urgent theme: infrastructure as a geopolitical instrument.

A highly topical theme, especially as international relations grow increasingly strained.

We are all dependent on infrastructure, but often only notice it when something goes wrong. Consider Russia’s invasion of Ukraine. Suddenly, Europe had to ask itself where to source its gas and oil if not from Russia. It is at such moments — when we must rethink these systems — that they become visible, and their influence on our daily lives is laid bare.

A compelling example in the exhibition is the experimental documentary China, Beijing, I Love You! by artist Köken Ergun. The work takes the Chinese Belt and Road Initiative as its starting point — a renewed vision of the Silk Road, a vast trade network of railways stretching from China to Antwerp. Some 150 countries are involved, each seeking a stake, and geopolitics is never far away. The exhibition examines what such a new route might mean for politics, but also for our everyday lives. After all, it has a direct impact on us all. Consider the battery in your electric car or phone. Where does it come from, and how does it get here?

How did you select the artists and their works?

That involves extensive research. As an international institution, we follow art scenes worldwide, with a particular focus on Eurasia — precisely the region where the largest infrastructure projects are unfolding today. By travelling, reading widely, visiting art schools and drawing on my network, I discover artists working with these themes. For the exhibition, I invited artists whose projects together present multiple perspectives.

What stands out is how many artists themselves work like researchers. They observe large-scale infrastructure projects on the ground and translate their findings into art. That approach is strongly reflected in this exhibition. Each artist is given a substantial presentation, often featuring more than one work.

The exhibition also presents hopeful alternative models.

Indeed. A good example is the Dutch artist Jonas Staal, who works with New World Summit. In collaboration with local political groups in stateless regions, he develops alternative parliaments and embassies, often conceived as architectural proposals. He was even commissioned to design a new parliament during the civil war in Rojava, northern Syria.

Equally inspiring is The Question of Funding, a collective of mainly Palestinian artists that previously took part in documenta 15. They interrogate the “donor economy”, in which artists — such as those in the Palestinian art scene — depend heavily on foreign funding. To reduce that dependency, they seek alternative cultural infrastructures. Their proposals build on local resources and a circular economy, in collaboration with farmers, residents and artists.

Are there overarching themes running through the exhibition?

Yes. Infrastructure often appears as an extension of state power and influence. Politics has an almost blinding fascination with it. Large projects symbolise dreams of progress, modernisation and efficiency. Infrastructure is not only about space, but also about time: making things faster, bringing them closer.

Artists approach this in their own ways. They reflect on the vast resources infrastructure demands, the coordination it requires, and the conceptual dimensions of time and space. In doing so, they cast a clear light on power structures and their enormous impact on people and the environment. Yet they also envision opportunities and alternative models. The result is a blend of critical reflection and hopeful speculation.

What is the significance of a group exhibition for M HKA?

Group exhibitions allow M HKA to test a hypothesis about where art stands today. The museum is internationally recognised for this kind of exhibition. We bring together research on essential social questions and offer artists an important first platform.

Often, group shows later lead to solo exhibitions or acquisitions. A good example is our 2014 exhibition Don’t You Know Who I Am? Art After Identity Politics. Four or five participating artists went on to receive their first major survey exhibition in the following decade. We aim for such long-term commitments with artists.

Group exhibitions also create encounters: artists meet one another, collaborate on installation, and engage in dialogue with the audience and with each other. Shared interests emerge, and new relationships and collaborations take root.

The exhibition extends beyond the gallery. There is also an online platform.

That’s right. We deliberately chose not to produce a printed catalogue, but instead to create a digital format that will remain accessible after the exhibition. This makes the content broader in reach and easier to access. We are also publishing a series of essays on infrastructure under the “New Silk Road” framework on e-flux.

For M HKA, group exhibitions are much more than one-off projects. They are an essential part of our identity, and a source of our international reputation. They embody our mission to consider art from an international, and particularly a Eurasian, perspective; to connect generations; and to help shape the art of the 21st century.

The Platform

For those wishing to explore further, an online platform has been created especially for The Geopolitics of Infrastructure — Contemporary Perspectives. It offers more information on the artists and works, editorial contributions, contextual material on the exhibition’s themes, and striking parallels with current events. Audiovisual material from performances and lectures within the public programme is also available there.

Visit the platform: geopoliticsofinfrastructure.net