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‘Unsettled Objects’ is a show that draws on work from the Sharjah Art Foundation Collection, and holds at its core an interrogation of exhibition making by considering what it means to decolonise the imagination. SOUTH SOUTH interviewed the exhibition’s curator, Dr. Omar Kholeif, to tease out the thematic threads of this interrogation and unpack his curatorial gestures.

Özge Ersoy is a curator and writer; Public Programmes Lead at Asia Art Archive, Hong Kong; and the Managing Editor at m-est.org. Her work interrogates sociopolitical milieus while thinking through the threads that exist between exhibition-making, text, archival practices and collecting. SOUTH SOUTH interviewed Ersoy to find out more about her practice and to get a peek at the list of publications that have been her companions over the past year.

‘Particles in Motion’ is a layered fusion of Ada Udechukwu’s poetry woven through and around her lyrical art, demanding us to be silent, in order to feel the soft vibration of her interpretation of our complex world. The detailed catalogue that accompanies the exhibition includes an essay written by Chika Okeke-Agulu, Professor of African and African Diaspora Art at Princeton University. Learn more about Udechukwu through access to the entire catalogue.

On 30 April 2021 art writer Andrew Maerkle moderated a conversation between artist Danh Vo and curator Yuka Uematsu about the exhibition ‘Danh Vo oV hnaD’ held at the National Museum of Art Osaka from June 2 to October 11, 2020. In this talk the three revisit how the pandemic shaped the realization of the exhibition and do a virtual walkthrough of the show.

Art Consulting Tool (Act.) initiates and is involved in projects related to curatorial practice, publications and other forms of artistic spatial practice. There recent book 20 in 2020: The Artists of the Next Decade – Latin America highlights Latin American artists who they and those they worked with believe will redefine the artistic and cultural horizon in the decade to come. SOUTH SOUTH spoke one of the book’s editors and Act. co-founder, Fernando Ticoulat.

Art spaces can often have an intimate relationship with their cities and have the possibility to invite inhabitants to reimagine their associations with particular locations. Marfa’ Projects in Beirut is a gallery that has been able to do this. It has moved past initial conservative remarks about the impracticality of having a space for art in an abandoned garage near the entrance to the port to becoming a key location point within the arts ecosystem in the city.

I’m really excited by the idea of creating an image that’s immediately visually seductive, something that garners a really strong visceral response, and entices the viewer to really sit with it for a while and work through it. I’m always excited when work can create a response that’s complex, and in my case I think the tension between the image and the subject matter can create that complexity.

What began as an intended dialogue between Angolan artist Sandra Poulson and South African artist of Angolan heritage, Helena Uambembe, evolved into a reflection on the nature of self-censorship by the latter. Both artists are concerned with the idea of the archive, what it is, and who authors it, addressing the gaps in the way the history of Angolans has been represented both in Angola and other parts of southern Africa.

The DMZ is only 30-40 minutes away from Seoul, but it is largely a forgotten place in our everyday reality. People have learned to forget about the division and the tragic war that is still pending. The Real DMZ Project aims to raise awareness and bring the issues to our everyday consciousness. Iterating the border issues in diverse forms in different locations can help us approach the DMZ from diversified perspectives and can bring us closer to the border issues that have been predominantly political and military.

The Dymaxion Map was created by designer, architect and systems theorist Buckminster Fuller in the mid 20th century. We reached out to the Buckminster Fuller Institute (BFI) in San Francisco and had a conversation with Kurt Przybilla, a long time BFI member and advisor. Together we nerded out over the history of the map and its significance for thinking about the relationship between perceptions of the Earth’s geography and its sociopolitical consequence

In North America’s deep South, a region where the Ku Klux Klan was born and the civil rights movement later had some of its most significant moments, María Campos-Pons has built what she calls the Engine for Art, Democracy & Justice. In this powerful seminar series, she is driving a dynamic vision of various notions of the South that compels a profound reconsideration from the North.

Ten years ago, gallerists Prateek and Priyanka Raja established Experimenter Curators’ Hub (ECH) as a platform for developing and sustaining discourse on curatorial practice and exhibition-making. In what became an overwhelmingly well-attended, intensive annual programme, the hub has brought a diverse and prominent group of international curators to Kolkata, India – from Naomi Beckwith, to Adam Szymczyk, and Léuli Eshrāghi – to illuminate the thinking behind their curatorial practice.