Zanny Begg is a Sydney based artist, writer and organiser. Her work uses humour, understated drawings and found cultural artifacts to explore ways in which we can live and be in the world differently.

Zanny probes the social and spatial architecture of life and questions how to be political today.





In the Shade of the Waq Waq Tree, Undrawing the Line, collaborative drawing, installation shot the Secession, Vienna, 2014.

Salon Fluchthilfe, part of Utopian Pulse – Flares in the Darkroom, curated by Zanny Begg, opened at The Secession, Vienna, on October 1 2014.
Utopia is often imagined as a desireable and elusive place. In Salon Fluchthilfe it is imagined not so much as a place (with borders) but as a journey or non-place (defined by its borderlessness). The German word fluchthilfe has no easy English translation - it is a positive term used to describe those who help others cross borders to escape persecution (whereas English has only derogatory translations, such as people smugglers or human traffickers). This exhibition is located within the politics of contemporary refugee struggles but aims to challenge the binaries of refugee/citizen that have framed this debate. To visit a project website click here.

The Boys Home opened on August 9, 2014 at Campbeltown Arts Centre, Sydney as part of an exhibition called The List curated by Megan Monte. The Boys Home is an installation produced out of a four-month residency within a maximum security prison for kids. The project has four parts, the photo series Rooms, Jackets and Shields and the video work Doing Time. For more information about the project clikc here. To read a recent article by Zanny Begg on the project for The Conversation, click here. To watch a video interview about the project with Das Super Paper click here.

The Boys Home, installtion shot, The List, Campbeltown Arts Centre, 2014.

Production still from Doing Time, 2014.