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Afterall

@afterallresearch

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Afterall is a research centre at @csm_news focusing on contemporary art and its relation to a wider artistic, theoretical and social context.

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Afterall is delighted to announce the next iteration of our writing workshops in Southeast Asia.

Our inaugural 2021 workshop ‘Terms and Conditions of Writing and Publishing Art in Southeast Asia’ aimed to facilitate peer learning and experiment with diverse or new forms of art writing and publishing amongst researchers, artists and writers across the region. Our cohort were 23 participants based in Bangkok, Hanoi, Ho Chi Minh City, Jakarta, Kuala Lumpur, Manila, Phnom Penh, Yangon and Yogyakarta, selected from 107 applicants by open call.

Our 2024–5 workshop ‘Art Writing and Publishing in Southeast Asia: Sustainable Ecosystems and Infrastructures’ – which took place in Phnom Penh – developed new convivialities, research ecosystems and infrastructures for sustainable art and research cultures, including the New Writing publishing platform launched in August 2025.

Our 2026 workshop ‘Art Writing and Publishing in Southeast Asia: Collectivity and Land Issues’ emerges from the shared interests of our writing workshop participants, reconnecting with the participants of the 2021 and 2024–25 programmes to further develop our co-learning framework; to dive into research-writing focusing on collective practices and land issues; and to collectively develop plans for how the programme should move forwards. It will take place in Quezon City, Manila this June.

The 15 participants joining us in Manila are Lara Acuin, Dini Adanurani, Vincent Ardidon, Roma Estrada, Lyra Garcellano, Prapan Jangkitchai, Nuttamon Pramsumran, Vân Đỗ, Hung Duong, Lyna Kourn, Moeng Meta, Lk Rigor, Akmalia Rizqita, Ibrahim Soetomo, Ariane Sutthavong and Beverly Yong.

This project is supported by @thebritishacademy Writing Workshop Alumni Grant. Afterall editors Wing Chan @wingchanwww Adeena Mey @adeena_mey and David Morris are hosting the programme with our friends Thanavi Chotpradit @thanavichotpradit Eileen Legaspi-Ramirez @eilrscribe Tram Luong @carin.luong Brigitta Isabella, Arianna Mercado @aczm and Lyno Vuth @vuthlyno taken in Manila by @afterallresearch

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2 months ago

Gonzalo Díaz in Afterall Journal 🇨🇱📘📝

Rada Georgieva’s @rada.georgievaa new Afterall text looks closely at Gonzalo Díaz — National Prize of Plastic Arts — and the way his work exposes the hidden structures behind museums, states and history ✨
@afterallresearch

🖋️ Link in bio by @afterallresearch

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6 months ago

NOW PUBLISHED: How to Pin Down Smoke: ruangrupa since 2000

We are excited to announce the fifteenth title in our Exhibition Histories book series. How to Pin Down Smoke: ruangrupa since 2000 is an expansive guide to @ruangrupa and their singular and multifaceted practice. Formed in Jakarta in 2000 against a background of authoritarianism, economic crisis and youth movements, ruangrupa is an art initiative whose work playfully subverts traditional art- and exhibition-making, offering a living model of collective organisation, sustainable institution-building and ways of relating to one another. Through new commissions, interviews and extensive archival documentation, this publication explores how ruangrupa’s 25-year history expands understandings of ‘art’, ‘exhibition’ and ‘publics’, integrating elements of popular culture, media technology and contemporary urban life.

The 508-page publication is among Afterall’s most substantial and ambitious projects to date and generously illustrated in full colour with over 1100 archival and artwork images. It is collectively edited by Wing Chan @wingchanwww, Arianna Mercado @aczm and David Morris, with contributions by artists, cultural workers, curators, editors, researchers, intellectual activists and urban politics scholars, including Ronny Agustinus, Leonhard Bartolomeus, Melani Budianta @melani.budianta, Wing Chan, chitarum @chitarum, Ade Darmawan @ade_darmawan, Özge Ersoy @ozgeersoy, Charles Esche @charles.esche, Nuraini Juliastuti, Abidin Kusno, Umi Lestari, Arianna Mercado, Ugeng T. Moetidjo, David Morris, farid rakun @rakunteur, Gesyada Siregar, Ibrahim Soetomo @ibrahimsoetomo, Enin Supriyanto, David Teh, The Secret Agents, Mahardika Yudha, Ardi Yunanto and many others.

This publication is released in partnership with Asia Art Archive @asiaartarchive; the Center for Curatorial Studies, Bard College @ccsbard; documenta Institut @documentainstitut; and the Faculty of Fine, Applied and Performing Arts, University of Gothenburg @universityofgothenburg

Designed by @pedrocidproenca

Read the introduction in open access on our website and order through @buchhandlungwaltherfranzkoenig
🔗 in bio by @afterallresearch

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8 months ago

How can curating respond to the urgencies of our time? What can exhibition histories teach us about curating today?

📅 Thu 23 July, 2–5pm
💭 Free admission (sign-up link in bio)

In collaboration with the Afterall Research Centre, we invite you to the inaugural Situationist Duration Reading Group, exploring "The Curatorial as Social Intervention" through a collective reading of the Exhibition Histories series published by Afterall.

We will collectively reflect on the curatorial concepts developed across the series and discuss the continuing relevance for contemporary curatorial research and practice. Then, we will explore how curators might develop experimental curatorial practices by responding attentively to the socio-political situations of their time.

Dr David Morris, Co-Leader of the CSM MRes Art: Exhibition Studies programme and Research Fellow and Editor at the Afterall Research Centre, who will join the discussion and respond to participants' questions. Other Afterall researchers and editors may also take part in the conversation.

Guest: Dr David Morris
Moderator Nicole Zihua Zhang @ni.cole.c
Graphic Designer: Momo Ye Mu @ismuyed

Location: Afterall Research Centre, Central Saint Martins, Granary Building, London N1C 4AA by @afterallresearch

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17 days ago

NEXT WEEK AT PAROLA: 𝗥𝗘𝗔𝗗𝗜𝗡𝗚 𝗔𝗡𝗗 𝗪𝗥𝗜𝗧𝗜𝗡𝗚 𝗜𝗡 𝗔𝗡𝗗 𝗢𝗡 𝗙𝗥𝗔𝗚𝗠𝗘𝗡𝗧𝗘𝗗 𝗙𝗜𝗘𝗟𝗗𝗦

𝗥𝗲𝗮𝗱𝗶𝗻𝗴 𝗮𝗻𝗱 𝗪𝗿𝗶𝘁𝗶𝗻𝗴 𝗶𝗻 𝗮𝗻𝗱 𝗼𝗻 𝗙𝗿𝗮𝗴𝗺𝗲𝗻𝘁𝗲𝗱 𝗙𝗶𝗲𝗹𝗱𝘀 is a one-day public symposium organized as part of the 2026 Afterall Art Writing and Publishing workshops in Quezon City.

This symposium brings together artists, curators, scholars, and cultural workers from Southeast Asia, responding to the central theme of the workshop on land and collectivity. Through a series of presentations and conversations, this program hopes to contextualize writing and publishing in the region, while also unpacking local practices and collaborative approaches to questions of labor, research, land, and resources.

This project is hosted by Afterall and is supported by the British Academy Writing Workshop Alumni Grant. Its previous iterations were held online (‘Terms and Conditions of Writing and Publishing Art in Southeast Asia’, 2021) and in Phnom Penh, Cambodia (‘Art Writing and Publishing in Southeast Asia: Sustainable Ecosystems and Infrastructures’, 2024).

Image credits: Con Cabrera, ARTIST AS CITIZEN, ARTWORLD AS NATION, 2018–ongoing.

𝗥𝗲𝗮𝗱𝗶𝗻𝗴 𝗮𝗻𝗱 𝗪𝗿𝗶𝘁𝗶𝗻𝗴 𝗶𝗻 𝗮𝗻𝗱 𝗼𝗻 𝗙𝗿𝗮𝗴𝗺𝗲𝗻𝘁𝗲𝗱 𝗙𝗶𝗲𝗹𝗱𝘀
🗓️June 27, 2026 (Saturday), 10.00–16.00
📍Multipurpose Hall, UP Fine Arts Gallery (Parola),
Arts and Design West Hall, College of Fine Arts
University of the Philippines, Diliman]

FREE AND OPEN TO THE PUBLIC

👇🏼REGISTER HERE 👇🏼
https://forms.gle/gdE5q6KpTXpyhYFN9
https://forms.gle/gdE5q6KpTXpyhYFN9
https://forms.gle/gdE5q6KpTXpyhYFN9

See you! 👋🏼

#UPFineArtsGallery #AfterAll #ReadingAndWritingInAndOnFragmentedFields by @afterallresearch

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a month ago

NOTEBOOK: A Prosaic Uprightness: Review of Angela de la Cruz’s ‘UPRIGHT’

Ri Su @risurisu7 reviews Angela de la Cruz’s exhibition ‘UPRIGHT’ at Ikon Gallery, tracing a sculptural language developed around notions of collapse, dependence, and the precarious effort of staying upright. As she describes, the artist ‘gives pain a body that can no longer hold itself upright [and] this way of working also appears to be a de-monumentalising one: on the one hand, the work keeps sinking inwardly into itself, its centre of gravity slipping, its structure loosening ... On the other hand, it keeps extending outward, towards walls, floors, furniture, and supporting structures, but also towards another body, towards a relational mode of existence.’

🔗 Link in bio to read the full article by @afterallresearch

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2 months ago

Friday May 15, 6-8pm
An evening with Sung Hwan Kim

with Janine Armin, Gahee Park, Yolande Zola Zoli van der Heide, Linda van Deursen and Sung Hwan Kim
readings starting 6.30pm

You are kindly invited to a trifecta of book launches related to the work of Sung Hwan Kim. The Honolulu-based artist is known for his film environments that he recalibrates for each locality, and which include film, sound, architectural intervention, and drawing. As in the artist’s work, the three books address displacement, rhythm, archives, protest—and the place of moving image and sound within this.

The evening is guided by a conversation with the artist and his book accomplices. Yolande Zola Zoli van der Heide, senior curator at the Van Abbemuseum in Eindhoven, begins with an introduction to the catalogue published on the occasion of Kim’s solo exhibition —which she organized at the Van Abbemuseum in 2023 and travelled to ZKM | Center for Media and Art Karlsruhe in 2024 and to Bergen Kunsthall in 2026— titled Protected by roof and right-hand muscles (2025). The book’s designer Linda Van Deursen will be on deck to discuss her engagement with hundreds of images from the artist’s immense oeuvre. Gahee Park, co-curator of the 16th Gwangju Biennale, will then introduce the exhibition she curated of the artist’s work at the Seoul Museum of Art (SeMA) and its accompanying catalogue Ua a‘o ‘ia ‘o ia e ia (2025). Kim himself will read a newly translated excerpt from the SeMA book, and writer Janine Armin will share a passage from her One Work publication, Sung Hwan Kim: A Record of Drifting Across the Sea.

On this evening we look to orient ourselves around the minute shifts that occur over short timespans and long distances within a single artist’s practice. The celebration concentrates on the work Kim produced in Hawai’i, and its resonances across the sea to Korea. A collaboratively made poster is freely available with the books, alongside a presentation of texts from Native Books in Honolulu. by @afterallresearch

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2 months ago

PhD Funding Application
Resurgent Places: Practice-based Repair Across the West Asia and North Africa Region
Partnership: Central Saint Martins and Mosaic Rooms
Director of Studies: Dr Elisa Adami @elisa_adami
Co-supervisor: Nadine Monem @nadinemonem

Overview
The region spanning West Asia and North Africa (WANA) has historically been – and continues to be – made and unmade through colonial, extractive and militarist violence as well as through the imposition of discursive frameworks produced elsewhere. If in 1978 Edward Said identified ‘orientalism’ as the nineteenth-century knowledge system that paved the way to the Western colonisation of the ‘Middle East’, contemporary forms of ‘geographical profiling’ continue to portray and define the region as ‘a site of sectarian violence, of petroleum capitalism and a dumping ground of imperialist debris’ (Yıldırım, 2023).

Environmentally, the WANA region sits largely within an arid to semi-arid climate zone stretching from Mauritania to Central Asia. Its fragile ecosystems are vulnerable to drought and desertification – risks further compounded by global warming. This advancing ‘aridity line’ has been characterised as a ‘conflict shoreline’ where climate change and political conflict intertwine (Weizman and Sheikh, 2015). This intersection of colonial/military violence and environmental risk is a typical case of ‘group-differentiated vulnerability to premature death’ (Wilson Gilmore, 2017) in the sacrifice zones produced by racial capitalism.

We invite applications that advance place-(re)making practices as modes to address/redress these palimpsests of social, spatial and environmental injustices across the region, specifically those caused by the intersection of wars, colonisation and climate change.

🔗Application information in bio by @afterallresearch

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3 months ago

DISOBEDIENT SCIENCE / 7 & 8 MAY / PELICAN HOUSE / UCL SLADE

Join us for Disobedient Science, a 2-day gathering at @pelican.house and @sladeschool, hosted by @radicalecology in partnership with UCL, LAHP and Afterall Research Centre on 7-8 May 2026.

The programme opens pathways for relational practices in art and activism that move beyond inherited scripts of colonial knowledge production and scientific rationalism, revealing instead how thinking and making are never disembodied, and how lived time and space are touched by scales both intimate and immense: geologic, historic, microscopic and planetary.

Sign-up via link in bio

DAY 1

📍 Pelican House, Bethnal Green 📅 Thursday 7 May | 6–11pm (public)

An evening of food, music, conversation and performance:

• BBQ and book launch with Iswanto Hartono, ruangrupa and @afterallresearch, marking the launch of their publication, How to Pin Down Smoke: ruangrupa since 2000 • Dreaming Aesthetics — a conversation between Ingrid Pollard and Katherine McKittrick on black time, dreaming and liberation in the landscape • Performance by experimental sound artist Dirar Kalash, connecting collective listening to the politics of space and time in Palestine

DAY 2

📍 Slade School of Fine Art, UCL 🗓 Friday 8 May | 11am–4pm

Launch of Radical Ecology’s new academic network for decolonial ecology: Disobedient Science. Travel support available: up to £100 per researcher for up to 10 researchers (needs-based)

Programme includes:
• On Synchronicity — film screening by Ashish Ghadiali with Sonu Shamdasani on the theory of synchronicity and its implications for the practice of ecology • Participatory performance by Joshua Woolford, weaving together an evolving live soundscape • Plenary discussion led by Ashish Ghadiali & Iman Datoo (co-convenors, Disobedient Science network) • Closing grounding ritual by Angela Camacho

Full programme details and how to apply via link in bio

Image credits
(2)Ameng, Lekker Eten Zonder Betalen (2003); How to Pin Down Smoke
(3) McKittrick; Pollard (photo: Colin Davidson)
(4) Dirar Kalash
(5) On Synchronicity (film still), Ashish Ghadiali
(6) Angela Camacho taken in Pelican House by @afterallresearch

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3 months ago

#NewWriting

Sheau Yun Lim @sheauthings reconstructs the life’s work of Inauk S. Gullah (1938–2020), whose singular paintings weave together colonial memory, religious cosmologies and village life in Sabah. Through archival research and family testimony, the essay considers how his practice complicates the category of ‘folk art’ while indexing processes of environmental degradation and historical transformation.

🔗 Link in bio to read the full article

Cover Image: Inauk S. Gullah, Kehidupan Murut Paluan Di Zaman Pertengahan (Life of the Murut Paluan during the Middle Ages), 127 × 96 cm, 2000. Collection of Sabah Art Gallery

Image 2: Inauk S. Gullah, 36 Jenis Buah Dalam Hutan Pupus Akibat Pembalakan Haram di Sabah (36 Kinds of Fruits in the Forest Extinct Because of Illegal Logging in Sabah), oil on plywood, 105 × 146cm, 2011. Courtesy of the artist’s family and Sabah Art Gallery. Photograph courtesy of Ilham Gallery @ilhamgallerykl

Image 3: Inauk S. Gullah, Folk Art Ku Analisis Negeri Di Bawah Bayu (My Folk Art Analysis of the Land Below the Wind), high-gloss industrial paint on plywood, 121.9 × 121.9cm, 2012. Courtesy of the artist’s family and Sabah Art Gallery. Photograph courtesy of Ilham Gallery by @afterallresearch

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4 months ago

In recent years, the practice of the Jakarta-based collective ruangrupa has gained exceptional traction in the contemporary art world. Their appointment as the Artistic Director of documenta 15 in 2022 has allowed a more compelling understanding of the collective’s practice guided by the values of “lumbung,” “an alternative, community-oriented model of sustainability in ecological, social and economic terms, in which resources, ideas and knowledge are shared.” The book How to Pin Down Smoke: ruangrupa since 2000, published in 2025 by Afterall in association with Asia Art Archive; the Center for Curatorial Studies, Bard College; documenta Institut; and the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, maps out the genealogy of the animated and complex ecosystem that ruangrupa has cultivated and which has shaped the trajectory of the group’s practice. Carlos Quijon, Jr. talks to the volume’s editors, Arianna Mercado, David Morris, and Wing Chan, about their editorial processes and considerations.

Published in @themuseumofmodernart post:notes on art in a global context

🔗 Read the full converation via link in bio by @afterallresearch

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4 months ago

EcoFutures: Planetary Thinking and Infrastructures — Arts & Research Symposium

Dates: Friday 27 – Saturday 28 February 2026
Location: Banqueting Hall, Chelsea College of Arts, UAL @chelseaual @unioftheartslondon
Workshop Location: Red Room, Chelsea College of Arts, UAL

Admission: Free (Registration link in bio)
Format: Hybrid (Admission and Virtual Participation)

Co-presented by Videotage and UAL's Research Centre for Transnational Art, Identity and Nation (TrAIN), Ecofutures: Planetary Thinking and Infrastructures brings together artists, scholars, and practitioners working in Hong Kong, the UK, and beyond.
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The symposium approaches ecology and planetary thinking as intersecting lenses: ecology invites us to consider the relationships between living organisms and their environments, rethinking “home” beyond buildings to include our reciprocal ties with the world around us while planetary thinking situates these questions within a critical, interdisciplinary framework, attending to Earth as an interconnected system and highlighting the entanglements of local and transnational, past and present, human and nonhuman.
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The programme – through a series of panel discussions, performance-lectures, and workshops – will explore how artistic research can reveal, intervene in, and reimagine an equitable planetary future.

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Co-Curators: Jessica Wan @jesswan___ , Angel Leung @angellonkee
Advisor: David Cross
Presented by:
UAL Research Centre for Transnational Art @transnational_ual
Videotage @videotage_hk

Supported by:
Afterall @afterallresearch
Hong Kong Arts Development Council
The Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council. by @afterallresearch

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6 months ago