artist Profile

Lilah Benetti (they/them) works in the space between contemporary art and cinema. Rooted in research as relation, their practice explores global Black Queer memory, displacement and visibility through layered, sensory forms.

Experimenting across image, installation and sound, they approach still and moving image as both fluid and porous. Their work often takes form through their living anarchive Black and Blur, which seeks to attend to the everyday, the spiritual and the speculative, foregrounding refusal, multiplicity and collective memory, while engaging with the mutable yet deeply connected intersections of people and place as a way to imagine proximate futures.

Benetti’s most recent work, Les Sommes de Nous (2024), has been presented at Tate Britain (History Reverberates, 2025), Art Gallery of New South Wales (2025), IFC Center New York (Queer Art’s T4TV, 2025), Minor Attractions during Frieze Week (London, 2024) and Dakar Biennale (2024).

They have participated in international residencies including Kehinde Wiley’s Black Rock Residency (Senegal, 2024), The Art House UK x Royal Over-Seas League (UK, 2024), and My Queer Blackness, My Black Queerness x Villa Lena (Italy, 2022). Their work has been supported by the British Council, Creative Victoria, City of Melbourne, Ubuntu Foundation and Ian Potter Foundation.

Benetti has shared their practice through exhibitions, artist talks, workshops, mentorships and advisory roles with institutions including Museums Victoria, Firstdraft Gallery and Signal Arts.

Their work has been featured in VOGUE Italia, The Face UK, Art Monthly Australasia and The Guardian.

Enquiries & Commissions

MGNT@lilahbenetti.com

For enquiries related to exhibitions, screenings, commissions, mentoring or advisory services, prints please get in touch via email. If you are interested in contributing to the ongoing Black and Blur archive, please contact Lilah with the subject line: BLACK AND BLUR

I respectfully acknowledge the Wurundjeri Woi-Wurrung and Bunurong Boon Wurrung peoples, the Traditional Custodians of Naarm, where I live and work. This was and always will be Aboriginal land. I also extend my respect to Indigenous peoples across the Kulin Nation and to the many nations, communities and cultures of the continents now known as Australia and Africa. I acknowledge that the very naming and bordering of these lands reflect colonial systems of control, extraction and imperialism, imposed on diverse nations and territories whose sovereignty endures.

I hold deep gratitude for the privilege of living, working and creating on these lands, and recognise that my practice is entangled in these ongoing histories. I remain committed to approaching this work with care, humility and a willingness to listen and learn.