For the Oncurating Issue 34, we asked artists, theorists, and researches to send us their proposals for a decolonized art practice, or how to deal with institutions in that regard. The 34 invited artists were given a carte blanche to contribute to the topic of decolonising art institutions. The aim: to provide a platform for a multiplicity of voices from the arts. These voices would propose an image of a decolonised art practice, all the while raising questions with regard to how one can engage with pre-existing institutions in a congruent manner. The material was then displayed as printouts by ...

The fourth issue of Field Notes is a part of a combined and distributed effort towards formulating a multivalent answer to the answer of how we remember exhibitions, and by extension, what knowledge is gained through the process. Exhibitions are where artworks meet their publics. In the context of Asia, with the general absence of systematic public collections and few academic art history departments, exhibitions are more than just sites of display and interaction. Exhibitions—and the curatorial strategies shaping them, institutional demands driving them, and art writing accompanying them—have become the primary sites of art historical construction. The last decade has seen ...