This workshop discusses possibilities of curating in a transhistorical perspective, focusing on artists and spaces from the Global South. How can curators generate friction between this South and the hegemonic North? How to create conversations between artists, images, and institutions that are separated not only historically but also geographically, as seen under the prism of a "Global South"? The activity is underpinned on the discussion of a series of moving image works. After exploring these works collectively, participants will receive one of them to use as the basis for a fictional curatorial program that creates connections between images distant from each other in time. In a week's time, participant will present their programs to the group. The workshop is meant to be an engaging - and, of course, fun - experience to explore our ability to create relations, propose projects, respond to specific artworks, and deal creatively with emerging cultural conditions.

Raphael Fonseca is a researcher in curating, art history, art criticism, and education. He specializes in the relations between art, visual culture, and history in their various conceptions. He works as curator of modern and contemporary Latin American art at the Denver Art Museum. He worked as a curator at MAC Niterói (Contemporary Art Museum of Niterói, Brazil) from 2017 to 2020. He holds a PhD in Critic and Art History (State University of Rio de Janeiro). He's one of the curators of the next edition of the SESC_Videobrasil Biennale, working along with Renée Akitelek Mboya and Solange Farkas. Since mid-2020, he develops the project "1 curadorx, 1 hora" ("1 curator, 1 hour") where he interviews curators related to Brazil and from different generations and regions of the world. Recently he curated "Who tells a tale, adds a tail" (Denver Art Museum, 2022); Raio-que-o-parta: fictions of modern in Brazil (SESC 24 de Maio, São Paulo, 2022), Sweat (Haus der Kunst, Munich, Germany, 2021) and To-and-fro (Centro Cultural Bank of Brazil, São Paulo, Brazil, 2019). The juxtaposition of different temporalities and how this can trigger contemporary reflections for audiences is crucial in his practice. Humor, absurdity, pop culture, and the notion that an exhibition relates to the ideas of assembly, set design, and spectacle have grown among his research interests. He works with artists from everywhere but with a more significant focus on the ones born and/or based in the so-called Global South. An exhibition-making practice that deals with all types of media is also one of his most significant interests.

This activity is generously supported by Queen's University EDII Fund and Department of Film and Media.

The activity is free, but places are limited. In order to participate, please include your name and email below.