This series of conversations on contemporary art from Latin American is produced in partnership with the Chilean art foundation Il Posto, complementing the essays published in Afterall journal.

In our second episode, Afterall–Il Posto Editorial Research Fellow Rada Georgieva meets with Il Posto's Executve Director Antonio Echeverría, to discuss two iconic works by the late Chilean artist Gonzalo Díaz: Fotoperformance (1988) and Lonquén (1989). Antonio explores Díaz’s complex engagement with ideology, politics and memory, from the symbolic language of the left and the legacies of the Cold War in Fotoperformance to the role of trauma, religion and testimony in Lonquén, an installation responding to the 1973 disappearance and murder of fifteen workers during the Chilean dictatorship. Through these works, the conversation considers Díaz’s multilayered approach to history and representation.

Original music by David Morris.

This series of conversations on contemporary art from Latin American is produced in partnership with the Chilean art foundation Il Posto, complementing the essays published in Afterall journal.

In our first episode, Afterall–Il Posto Editorial Research Fellow Rada Georgieva speaks with Afterall's Managing Editor Dr Adeena Mey about the journal's engagement with Latin American art since its founding in 1998 — from an early essay on the Cuban collective Los Carpinteros to the Exhibition Histories volumes on the 1989 Havana Biennial and the 1998 São Paulo Biennial. They discuss how the Il Posto partnership builds on this history, situating it alongside Afterall's other regional collaborations — with La Salle in Singapore, M HKA in Antwerp, and Documenta Institut in Kassel — and what new avenues of research and translation this opens up.

This episode is accompanied by a reading list of texts on Latin American art drawn from Afterall's back issues, which you can find on the journal's website.

Original music by David Morris.

In collaboration with Para Site, Hong Kong, as part of the exhibition ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’ (2025), Afterall have initiated a series of conversations with artists, curators and scholars. The exhibition reframes Ha’s motherboards from functional tools to aesthetic objects. We depart from Ha’s unconventional printing practice to generate new interpretations and intergenerational conversations, extending from Hong Kong to the world beyond.

Our second episode in the series is with Grace Samboh and Ruhaeni Intan from the Yogyakarta based collective Hyphen—. Founded in 2011, Hyphen— is a research initiative that puts forward curiosity and common wellbeing as the estuary of artistic practices. Their work is most often focussed on practices from and in Indonesia, bringing historical legacies into dialogue with contemporary concerns, work that has taken various forms, from exhibitions and publications to jam sessions and radio broadcasts. For this episode, Grace and Intan are in conversation with Afterall research fellow and editor David Morris. We explore how their work as part of Hyphen— extends some of the questions of ‘Reframing Strangeness’ on different practices of history: How and why do we remember? How are creative legacies cared for, carried and brought into the present?

Grace Samboh (b. Jakarta) lives and works either in Yogyakarta, Jakarta, or wherever her friends are at. Her work is rooted in research as it justifies her curiosity. She makes exhibitions, produces artworks, manages programmes, and would like to write more. She believes that curating is about understanding and making at the same time. Her research looks at contemporary practices outside the existing centers and slowly reconnects them all with the past and central narratives. With Hyphen— (f.2011), her concern is to encourage arts and artistic research projects and publications in and from Indonesia. With Enin Supriyanto, Yustina Neni and Ratna Mufida, she used to run Equator Symposium (Yogyakarta Biennale Foundation, 2010–18) where they explored the possibility of connecting equatorial countries through current life situation with an admiration to the past and optimism towards the future. Since 2019, she has been directing programmes in Jakarta’s RUBANAH Underground Hub.

Ruhaeni Intan (b.1995, Pati) made her debut as a novelist when her first novel, Arapaima, was published by Buku Mojok in 2019. Besides writing fiction, she also works as a freelance writer, be it as a copywriter, content writer, creative writer – anything that requires thoughts to be put into words. Her second novel, Seakan Bisa Dipisahkan was published by Kepustakaan Populer Gramedia (KPG, 2025). Currently, she is devoting her curiosity on archival work with Hyphen— while flipping back and forth between fiction and non-fiction that has owned her soul for so long.

This podcast series is produced by Arianna Mercado and co-edited by Elisa Adami, Wing Chan, Adeena Mey and David Morris.

Stayed tuned for Hyphen—'s Danarto research on hyphen.wed.id. 

Commercial
'From Jerusalem to Armageddon' from Nayamullah Station. The book can be downloaded for free via https://muse.jhu.edu/pub/43/article/960544/pdf

Music
'Arena Semangka' by Nayamullah
Homemade tunes by David Morris and baby Maia

In collaboration with Para Site, Hong Kong, as part of the exhibition ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’ (2025), Afterall have initiated a series of conversations with artists, curators and scholars. The exhibition reframes Ha’s motherboards from functional tools to aesthetic objects. We depart from Ha’s unconventional printing practice to generate new interpretations and intergenerational conversations, extending from Hong Kong to the world beyond.

Focused on Hong Kong-based artist Ha Bik Chuen’s printmaking practice, ‘Reframing Strangeness’ stages a selection of his ‘motherboards’: a term Ha coined to designate the printing plates he labouriously assembled from wood and other found materials to produce over 3,000 editioned collagraphs. In this first episode, Afterall editors Elisa Adami and Wing Chan talk to the exhibition’s curator Michelle Wun Ting Wong. We explore how the materials the motherboards are made of can help us read Hong Kong’s history from the 1970s and its changing landscape.

Michelle Wun Ting Wong completed her PhD studies in Art History at The University of Hong Kong in 2025, exploring the modernity emerging from post WWII Hong Kong. From 2012–20 she was a researcher at Asia Art Archive (AAA), focusing on Hong Kong art history and histories of exchange and circulation through exhibitions and periodicals.

Ha Bik Chuen (1925–2009) was a Hong Kong-based artist who made prints, sculptures, collage books, and was also a prolific photographer.

This podcast series is produced by Arianna Mercado and co-edited by Elisa Adami, Wing Chan, Adeena Mey and David Morris.

Original music by David Morris. Thank you baby Maia for the babbles which inspired David to create these tunes in his psychedelic early papa days.

Arising from THE EDUCATIONAL WEB exhibition programme at Kunstverein in Hamburg, Afterall ArtSchool will initiate a series of online conversations with artists, scholars, and collectives examining artistic practice and the educational epistemologies which underpin it. Emphasising the pedagogic qualities of dialogue and exchange, these conversations, which will later double as podcast episodes on Afterall ArtSchool, will involve practitioners thinking through and across three different strands: problematising the decolonial institution, education as learning together, and studying in the shadows.

Join us for a conversation between Afterall ArtSchool co-editor Arianna Mercado and Buenos Aires-based initiator of the Movimiento Justicia Museal (Museum Justice Movement) Johanna Palmeyro. This discussion will reflect on the question of knowledge and unlearning within the context of museological practice.

Johanna Palmeyro (Buenos Aires, Argentina, 1989) is a museum specialist, cultural manager and mediator who explores the intersections between museums, art, education, exhibition design, community outreach, activism and accessibility. Her curatorial and pedagogical project Movimiento Justicia Museal (Museum Justice Movement) questions elitist practices in museums by creating situated graphic interventions, installations and exhibitions in collaboration with local communities in museums and non-conventional venues such as hospitals, kitchen soups, the streets and parks in the search for social justice and cultural rights. 

Johanna conducts workshops and seminars about museums, cultural mediation and community programs in diverse cultural and educational institutions in Latin America, Europe and Southeast Asia such as Universidad de Valencia, Museo Nacional de Ecuador, Museo de la Ciudad de Ecuador, Ministry of Culture of Perú, Ministry of Culture of Argentina, Centro Cultural de España en Córdoba, DePaul Museum, Singapore Art Museum, Red de Museos de Lugo, among others. She served as a cultural worker for the Ministry of Culture of Argentina and Museo Casa de Ricardo Rojas for more than 8 years coordinating community outreach programs.

Music
"Space Jazz"
Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/

Thank you to the sponsors of THE EDUCATIONAL WEB
Kulturstiftung des Bundes
Behörde für Kultur und Medien Hamburg
Hamburgische Kulturstiftung
K.S. Fischer Stiftung
and GRUNDIG

Arising from THE EDUCATIONAL WEB exhibition at Kunstverein in Hamburg, Afterall ArtSchool initiates a series of online conversations with artists, scholars, and collectives examining artistic practice and the educational epistemologies which underpin it. Emphasising the pedagogic qualities of dialogue and exchange, these conversations, which will later double as podcast episodes on Afterall ArtSchool, involve thinking through and across three different strands: problematising the decolonial institution, education as learning together, and studying in the shadows.

Please join us for a conversation between Afterall ArtSchool co-editor Camille Crichlow and artist, filmmaker, and writer, Zach Blas. Blas’s creative practice engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, biometric recognition, predictive policing, airport security, the internet, and biological warfare. The discussion will reflect on Blas’s pedagogical and research-based approaches to artistic practice and technologies of capture informed by queer and feminist theory.

Zach Blas is an artist, filmmaker, and writer whose practice spans installation, moving image, computation, theory, and performance. Blas has exhibited, lectured, and held screenings at the Whitney Museum of American Art, Tate Modern, 12th Berlin Biennale, Walker Art Center, British Art Show 9, 12th Gwangju Biennale, de Young Museum, the 68th Berlin International Film Festival, Los Angeles County Museum of Art, ICA London, Van Abbemuseum, e-flux, ZKM Center for Art and Media, Australian Centre for Contemporary Art, and Museo Universitario Arte Contemporáneo. 

Recent artworks have addressed fantasies of artificial intelligence, AI religiosity, policing as mysticism, the crystal balls of Silicon Valley, time travel, and smart drug psychedelia. His practice has been supported by a Creative Capital award in Emerging Fields, the Arts Council England, Edith-Russ-Haus für Medienkunst, and the United Kingdom Arts and Humanities Research Council. Blas’s writings can be found in the collections You Are Here: Art After the Internet, Documentary Across Disciplines, Queer: Documents of Contemporary Art, e-flux journal, and other art journals and exhibition catalogues. His work has been written about and featured in Artforum, Frieze, ArtReview, BBC, The Guardian, and The New York Times. His 2021 artist monograph Unknown Ideals is published by Sternberg Press. Blas is an Assistant Professor of Visual Studies in the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto.

Music

"Space Jazz"

Kevin MacLeod (incompetech.com)

Licensed under Creative Commons: By Attribution 3.0

http://creativecommons.org/licenses/by/3.0/

Thank you to the sponsors of THE EDUCATIONAL WEB

Kulturstiftung des Bundes

Behörde für Kultur und Medien Hamburg

Hamburgische Kulturstiftung,

K.S. Fischer Stiftung

and GRUNDIG

As part of THE EDUCATIONAL WEB exhibition programme at Kunstverein in Hamburg, Afterall ArtSchool will initiate a series of online conversations with artists, scholars, and collectives examining artistic practice and the educational epistemologies which underpin it. Emphasising the pedagogic qualities of dialogue and exchange, these conversations, which will later double as podcast episodes on Afterall ArtSchool, will involve practitioners thinking through and across three different strands: problematising the decolonial institution, education as learning together, and studying in the shadows.

Join us for a conversation between Afterall ArtSchool editors Arianna Mercado and Camille Crichlow and members of the arts education collective, A Particular Reality. The discussion will reflect on building collective, collaborative and creative learning environments and anti-racist approaches to arts education

A Particular Reality: Art / Learning / Anti-racism

Founded in 2018, A Particular Reality (APR) is a collective formed by students, alumni and educators from the Fine Art departments at Goldsmiths University of London, Kingston School of Art, Manchester Metropolitan University and Middlesex University; with a commitment to building creative learning environments upon the values of equity, care and collaboration.

A Particular Reality intends to forge connections across creative disciplines amongst students, educators and makers - elevating individuals who identify with feeling isolated in respect of their cultural identity and lived experience. They provide a non-hierarchical space to support marginalised students and staff and cultivate creative expression, within and beyond practice-based education.

Music

"Space Jazz"

Kevin MacLeod (incompetech.com)

Licensed under Creative Commons: By Attribution 3.0

http://creativecommons.org/licenses/by/3.0/

Thank you to the sponsors of THE EDUCATIONAL WEB

Kulturstiftung des Bundes

Behörde für Kultur und Medien Hamburg

Hamburgische Kulturstiftung,

K.S. Fischer Stiftung

and GRUNDIG

As part of THE EDUCATIONAL WEB exhibition programme at Kunstverein in Hamburg, Afterall ArtSchool will initiate a series of online conversations with artists, scholars, and collectives examining artistic practice and the educational epistemologies which underpin it. Emphasising the pedagogic qualities of dialogue and exchange, these conversations, which will later double as podcast episodes on Afterall ArtSchool, will involve practitioners thinking through and across three different strands: problematising the decolonial institution, education as learning together, and studying in the shadows.

Join us for a conversation between Yogyakarta-based KUNCI Study Forum & Collective and Afterall ArtSchool coordinator Arianna Mercado. This discussion will reflect on KUNCI's School of Improper Education and the collective's ethos to experiment with methods in producing and sharing knowledge through the acts of studying together at the intersections of affective, manual, and intellectual labour. 

KUNCI experiments with methods in producing and sharing knowledge through the acts of studying together at the intersections between affective, manual and intellectual labour. Since its founding in 1999 in Yogyakarta, Indonesia, KUNCI has been continuously transforming its structure, ways and medium of working. Initially formed as a cultural studies study group, at present KUNCI’s practices emphasise on collectivising study, by way of making-space, discussion, library, research, publishing, press and school-organising.

KUNCI traverses and connects institutional, disciplinary and local boundaries. KUNCI’S membership is based on friendship and informality, as well as self-organized and collaborative principles. Members of KUNCI are Antariksa (founder), Brigitta Isabella, Ferdiansyah Thajib, Fiky Daulay, Gatari Surya Kusuma, Hayyu Al Qayyumi, Nuraini Juliastuti (founder), Rifki Akbar Pratama, Syafiatudina, and Verry Handayani.

Music

"Space Jazz"

Kevin MacLeod (incompetech.com)

Licensed under Creative Commons: By Attribution 3.0

http://creativecommons.org/licenses/by/3.0/

Thank you to the sponsors of THE EDUCATIONAL WEB

Kulturstiftung des Bundes

Behörde für Kultur und Medien Hamburg

Hamburgische Kulturstiftung,

K.S. Fischer Stiftung

and GRUNDIG

As part of THE EDUCATIONAL WEB exhibition programme at Kunstverein in Hamburg, Afterall ArtSchool will initiate a series of online conversations with artists, scholars, and collectives examining artistic practice and the educational epistemologies which underpin it. Emphasising the pedagogic qualities of dialogue and exchange, these conversations, which will later double as podcast episodes on Afterall ArtSchool, will involve practitioners thinking through and across three different strands: problematising the decolonial institution, education as learning together, and studying in the shadows.

Join us for our first conversation in the series with writer, critic and Professor and Chair of Africana and American Studies at University at Buffalo Rinaldo Walcott, and Afterall ArtSchool Coordinator Camille Crichlow. The conversation will explore the logics of what Walcott terms ‘the long emancipation’ in the context of educational apparatuses and knowledge systems, in addition to the role of Black creativity and its centrality to the emergence of Black freedom.

Rinaldo Walcott is Professor and Chair of Africana and American Studies at the University at Buffalo. He holds the Carl V. Granger Chair in Africana and American Studies. He is a writer and critic. His research is in the area of Black Diaspora Cultural Studies, gender and sexuality with interests in nations, nationalisms, multiculturalism, policy and education broadly defined. As an interdisciplinary Black Studies scholar, Walcott has published in a wide range of venues on everything from literature to film, to theatre to music to policy. His articles have appeared in scholarly journals and books, as well as popular venues like newspapers and magazines and media online sources. He often comments on black cultural life for radio and TV. 

Walcott has edited or co-edited multiple works including Rude: Contemporary Black Canadian Cultural Criticism (Insomniac, 2000). Walcott is the author of Black Like Who: Writing Black Canada (Insomniac Press, 1997 with a second revised edition in 2003). He is also the author of Queer Returns: Essays on Multiculturalism, Diaspora and Black Studies (Insomniac Press, 2016) and co-author of Black Life: Post-BLM and the Struggle for Freedom (Arbeiter Ring, 2019). In 2021, Walcott published The Long Emancipation: Moving Towards Freedom (Duke University Press) and On Property: Policing, Prisons, and the Call for Abolition (Biblioasis) which was nominated for the Heritage Toronto Book Award, longlisted for the Toronto Book Awards, a Globe and Mail Book of the Year, and listed in CBC Books Best Canadian Nonfiction of 2021

Music

"Space Jazz"

Kevin MacLeod (incompetech.com)

Licensed under Creative Commons: By Attribution 3.0

http://creativecommons.org/licenses/by/3.0/

Thank you to the sponsors of THE EDUCATIONAL WEB

Kulturstiftung des Bundes

Behörde für Kultur und Medien Hamburg

Hamburgische Kulturstiftung,

K.S. Fischer Stiftung

and GRUNDIG