Noor Bhangu is a curator and scholar, whose practice is rooted in relational curatorial aesthetics and practices. Through curatorial intervention, she hopes to involve politics of history, memory and materiality to problematize dominant histories of representation. She completed her BA in the History of Art and her MA in Cultural Studies: Curatorial Practices at the University of Winnipeg. In 2018, she began her PhD in Communication and Culture at Toronto Metropolitan University and York University in Tkaronto, Toronto.
Her past projects include Not the Camera, But the Filing Cabinet (2018) at Gallery 1C03, even the birds are walking (2020) at Latitude 53, the excess is ritual (2023) at Dunlop Gallery, and Homorientalism (2023) at Smack Mellon. She is currently working on a group exhibition and public program, Queer Islamic Art, at Nasjonalmuseet for Spring 2025.
