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Christine Eyene

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Christine Eyene is an art historian and curator. She is Co-Director of Exhibition Research Lab (ERL) Gallery / Senior Lecturer in Contemporary Art at Liverpool John Moores University, and Research Curator at Tate Liverpool. From 2012 to March 2022, she was Research Fellow in Contemporary Art at the University of Central Lancashire where she worked on Making Histories Visible, an interdisciplinary visual arts research project led by multiple award-winning artist Lubaina Himid CBE RA. In this framework, she developed new research into feminism, sound art, and photography. In 2024 she completed her PhD at Birkbeck, University of London, on the relationship between text, African literature, and visual representation in the work of South African photographer George Hallett (1942-2020) under the supervision of Professor Annie E. Coombes.

Eyene’s areas of research and curatorial practice encompass contemporary art from a global perspective, with an interest in African and Diaspora arts. Her practice also engages with socially-engaged initiatives, urban culture, new media, music, design, and architecture.

Her recent exhibitions include: What the Mountain Has Seen, ERL Gallery, Feb – Nov 2025; The Plant that Stowed Away, Tate Liverpool + RIBA North, Liverpool, Feb – May 2025; George Hallett: Home and Exile, Clémentine de la Feronnière, Paris, March-May 2025, as part of Centre Pompidou Échos “Paris noir” programme); Where to Land the Eye, Konsthal, Landskrona, September 2024, as part of Landskrona Foto Festival; Seeds and Souls, Kunsthal Charlottenborg, Copenhagen, Sept. 2023 – Feb. 2024. See here for more exhibitions.

Published essays include: ‘Where an artist finds freedom: South African Exiled Artists in Paris’ in Alicia Knock (ed.), Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000. Paris: Centre Pompidou, 2025; ‘South African Exile and Diasporic Cultural Transmission’, in Ntshepe Tsekere Bopape and Alexandre Quoi (eds), Globalisto: A Philosophy in Flux – Acts of an Imbizo. Paris: Presses du Réel, 2024; ‘The Collection as a Discursive Space’ in Isabel Millar (ed.), A Place With No Name: Works From the Sina Jina Collection. London: Christie’s, 2022. ‘Tracey Rose: Within and Beyond (Black) Feminism’ in Koyo Kouoh (ed.), Tracey Rose: Shooting Down Babylon. Cape Town: Zeitz MOCAA, 2022. ‘Composing with Paint and Sound’ in Michael Wellen (ed.), Lubaina Himid. London : Tate Publishing, 2021; ‘Reflections on Contemporary African Art: Fragments of History’, in Pauline Faure (ed.), Cosmogonies: Zinsou, an African Collection. Milan: Silvana Editoriale; Montpellier: MO.CO., 2021.

Since 2021, she has been developing Bikoka Art Project, a new art and educational initiative dedicated to young people, women, and young creatives in the village of Bikoka (Lolodorf, Cameroon).

Christine Eyene sits on selection panels and advisory committees. She is member of jury of the Henrike Grohs Art Award 2026. In 2024, she joined the Artistic Council of Fondation Prince Pierre de Monaco. In 2022 she was on the selection committee of The London Open 2022 (Whitechapel Gallery), Jerwood/Photoworks Awards 2022, and member of jury of the Turner Prize 2022.

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