Born in Iraq, Kani Kamil is a Kurdish contemporary artist who lives and works in the United Kingdom. She is a graduate of College of Fine Arts, University of Sulaimani (BA, Fine Art / Ceramic, 2006) and Middlesex University, London (MA Fine Art, 2013). Currently she is a PhD candidate at Manchester Metropolitan University. She is a member of the Travelling Heritage Bureau in Manchester – a project ran by Digital Women’s Archive North (DWAN).
She participated in numerous projects and group exhibitions, including: “Woman Made Gallery’s 18th International Open”, Woman Made Gallery, Chicago (2015); “Arising”, Reykjavı́k Art Museum, Reykjavík, Iceland (2016); “Clamor”, Institute of Fine Art, Sulaimani (2016); “Slowness”, TRAFO, Trafostacja Sztuki w Szczecinie, Szczecin, Poland (2018); “Still I rise”, Manchester Art Gallery, Manchester (2018); “Cohere”, Victoria and Albert Museum, London, and HOME Manchester (2019); Hull International Photography Festival, HIP Gallery, Hull, UK (2019); “Everyday Object”, in collaboration with the University of Huddersfield and University of Salford in Manchester, Kate Smith, and Kelly Lockwood, part of the conference “The Listening Guide in Feminist Narrative Research” (2019); “Speaking Across Mountains”, Middle East Institute, Washington D.C. (2019); “Pot-holder” (project commissioned by Kirklees Council), in cooperation with Women in Exile at Huddersfield and Dewsbury WomenCentres, UK (2020).
Kani Kamil’s work is a reflection on the socio-political circumstances of Kurdish women in Iraq. It protests the inequality of opportunity and represents the voices of the marginalised. Her works aim to expose the relationship between nature and culture as well as the social construction of gender. She makes photographs, installation, needle-work, video and sound art, and frequently uses her own hair as the material with which to articulate the notions of conflict and repression.
In 2014 at Goldsmiths, University of London, together with Hardi Kurda, improviser and composer, and Khabat Abas, improviser and cellist, she took part in Sherko Abbas’s sound performance “When the Wild Instruments Sing”, playing the daf drum.
Co-financed by the Ministry of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund drawn from fees charged in games under state monopoly, as stipulated in Article 80, section 1 of the Gambling Games Act of the 19th of November 2009