The most interesting element as far as the Global South narrative is concerned, is probably to explore the possibilities that involve the application of visual arts with particular attention to Photography and Archiving, to negotiate the blurry lines of the seemingly unending definitions of the Global South notion.

Moving beyond historization and thematic conversations, there is an existing need to extend the discourse beyond cartographic anecdotes; where critical multidisciplinary artistic practice will chart a new map of globalization; a reworked space where the work of cultural practitioners will serve as seismic sensors that monitor directions and relevance of conversations especially as it affects the Global South.

Scholars and thinkers like Mahler already expanded the narrative by expounding that there are Souths in the North and that Norths are also present in the South. This interesting statement or position then offers curators and makers of art an opportunity that is precarious and poetic at once, a ‘must-engage’ situation that hopefully will produce an indigenously divergent angle to this narrative.

Creatives who are from or based in this global extraction have in recent times shown keen interest in unpacking and questioning of the idea that polarizes culture and global economics, as well as challenge the structures, nuances and processes that create artificial poverty and global inequalities. The immediacy of this cultural emergency may lead us to a recontextualization of global geopolitics; a new world map that has its compass pointing south in all directions.