WHO GOES HUNTING DOES NOT COUGH

The exhibition at the Museum of Technology is on display from 12.9. to 11.10.2026 featuring works by: Kongo Astronauts, Yto Barrada, Neïl Beloufa, Theo Eshetu, Joseph Ijoyemi, Mouna Jemal Siala, Miatta Kawinzi, Ali Akbar Mehta, Marek Pluciennik, Johan Thom, Eden Tinto Collins, Sofia Yala, Oliver Whitehead.

In the words of curator Kisito Assangni:

“The title Who Goes Hunting Does Not Cough, is derived from an African proverb suggesting that, despite the significance and positioning 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. The exhibition introduces the public to the works of international artists from different contexts who take on the concepts of power relations, decolonial aesthetics, affective spaces, resilient communities, and new technologies. They reflect about new visualities conducive to look towards the future of the museum as a lived experience. Combining film, video games, sound, photography, installation 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. It transcends cultural hierarchies, aligning with what theorist Irit Rogoff in her 2000 book Terra Infirma calls “criticality” –– a practice that constantly questions and destabilizes the authority of knowledge production. This shift opens up new interstices and spaces of intersection where diverse forms of knowledge, from indigenous epistemologies to speculative futurisms, can coexist and interact. By challenging linear narratives and fixed hierarchies of values, media art could be the saving grace of the museum of the future. As society becomes increasingly mediated by technology, media art offers a compelling pathway for museums to remain relevant, accessible, and reflective of contemporary life.”

To what extent can media art allow us to shape the future of the museum, and set a greater model for transversal knowledges? Intertwined with the museum, media art marks a profound disruption of the representative regime of aesthetic experiences and objects through its nature to question global cultural systems. Technology establishes a novel infrastructure that affords virtually limitless possibilities for artistic practice within a hyperconnected, post-digital world.

The Museum of Technology about the project:

“In recent years The Finnish Museum of Technology has strengthened its position at the crossroads of technology, art and science. That is why this collaboration with Pixelache and EMMA is especially significant: it brings together technological heritage and media art in ways that open fresh perspectives on important issues that affect us all.“

Kisito Assangni’s selection of works expounds the critical potential media art has to shape museums physically and philosophically, in a digital world striving for new ethical standards, equity and inclusion. By fostering those liminal, transdisciplinary spaces between science, technology, and embodied experience, media art redefines the museum-space as an agent of epistemic plurality and future-oriented thinking.

EMMA Museum states about the collaboration:

“Pixelache’s event at EMMA opens the art collections to the public from a new angle and strengthens the museum’s role in the field of media art. The perspectives of Pixelache—an electronic arts pioneer—and curator Kisito Assangni bring new voices to the fore and situate the media art collections in a topical context.”

Who Goes Hunting Does Not Cough is part of Another Story, a long term project designed by Egle Oddo and supported by Kone Foundation. Over the course of a three-year program, three invited curators delve into international media art archives to curate annual exhibitions and public programme.
Initiated to instigate emerging trends and explore new narratives, the project aims to critically examine contemporary media art practices and compare curatorial approaches. By showcasing the evolving field, the project’s ambition is to create meaningful connections to diverse global archives, and to unleash valuable repositories of knowledge that warrants further exploration and revitalization.

Who Goes Hunting Does Not Cough is realised in collaboration with Finnish Museum of Technology, EMMA Espoo Museum of Modern Art. Partners: The Embassy of Italy in Helsinki, The Embassy of the Republic of Tunisia in Helsinki, The The Italian Cultural Institute in Helsinki, The French Institute in Finland, and Villa Eläintarha. Supporting Another Story three-year project: Kone Foundation, The Arts Promotion Centre, The Department of Culture and Leisure of Helsinki City.

Pixelache Helsinki is a transdisciplinary platform for emerging art, design, research and activism. It is an association of artists, cultural producers, thinkers and activists interested in experimental interaction and electronics, code-based art and culture, grassroot organising & networks, renewable energy production/use, participatory art, open-source cultures, bioarts and art-science culture, alternative economy cultures, politics and economics of media/technology, audiovisual culture, media literacy & ecology and engaging with environmental issues. The word ‘pikseliähky’ (translated into English as “pixelache”) describes the feeling that results from an overdose of digital media content. Pixelache Helsinki is coordinated by the Finnish non-profit cultural association Piknik Frequency ry.

Kisito Assangni is an independent curator and consultant based between London, Paris and Togo. His research explores the circulation of images, postcolonial dynamics, and emerging forms of subjectivity. Through his curatorial projects, he examines how narratives are constructed, displaced, and transformed across contexts. Assangni was the Director of TIME is Love Screening (2008-2020), an internationally touring video art festival. His discursive public programs and exhibitions have been presented around the world, including the Venice Biennale, ZKM Karlsruhe, Torrance Art Museum Los Angeles, Ben Uri Museum London, Es Baluard Museum, Palma, National Center for Contemporary Art Moscow. Assangni has participated widely in lectures, research collaborations, and symposia at institutions such as Whitechapel Gallery London, Apexart New York, Palais de Tokyo Paris, Pixelache Helsinki, Cambridge School of Art, University of Pretoria South Africa.

Exhibition Team

Curator: Kisito Assangni
Project Leader: Egle Oddo
Pixelache Executive Director: Raisa Veikkola
Communications Coordinator: Selma Mataich
Technical Design: Mreethmandir Gunjan Kumar Roy, Leevi Toija, Joshua Cockroft
Graphic Design: Nikita Gavrilenko
Critical essay by Dr Greg de Cuir Jr.

Group exhibition: September 12– October 11, 2026
Vernissage September 11 at 18:00
Museum of Technology