Institute of Archaeology


Quantum Ghost Continuum

02 February 2023, 5:00 pm–6:30 pm

A bare foot woman with dark hair wearing white trousers and a black top, standing in an arid/desert environment with her arms outstretched

The Archaeology-Heritage-Art Research Network public programme will continue with a talk given by artist Libita Sibungu on 2 February.

This event is free.

Event Information

Open to







Nastassja Simensky

Quantum Ghost Continuum

Libita Sibungu is an interdisciplinary artist working with writing, performance, photography, print and sound to build environments that weave decolonial narratives into immersive installations and poetic arrangements. Through storytelling Sibungu connects her familial history with political movements, and wider collective memories and cosmologies to amplify buried and marginalised voices.

With collective work, storytelling and performance, Sibungu gathers and samples displaced voices into holding and healing environments to explore sites of remembrance. The project continuum; Quantum Ghost (2019) is a lament to memory comprising a series of large-scale photograms, an immersive sound installation, and a programme of live performances. Mapping a journey through archives and territories related to Sibungu’s heritage, connecting the mining regions of Namibia and Cornwall, revealing how the echoes of colonialism and diasporic migration reverberate through the deep-time of geology.

A darkened gallery/display space with three rectangular displays and spot lighting overhead

The talk is free and open to all, register for the event via the booking link above.

Archaeology-Heritage-Art research network logo

The Archaeology-Heritage-Art Research Network examines the varied ways in which archaeology, heritage and art converge across a broad range of concepts and practices, from artistic interventions in the museum space to archaeological interpretations which deploy and take inspiration from contemporary art.

The AHA 2022 PROGRAMME: INTERDISCIPLINARY METHODOLOGIES is supported with a grant from the Centre for Critical Heritage Studies.