Yesterday we had an interesting discussion about coding exhibition spaces and curating. Jonathan shared some texts by Edouard Glissant and his ideas about continental and archipelagic thinking. We discussed global dialogue, where cultures meet and exchange with one another, and how these ideas could be applied within curating. We also questioned the difference between algorithmic and human curating.
My mind felt crowded with thoughts, words clashing against one another. Writing about it helped me untangle those ideas and find the right words..
So,
1- Continental and Archipelagic Thinking
First, I did not know about Edouard Glissant until Jonathan mentioned him. Before writing this, I did some research and discovered that Glissant attended the same school as Fanon during a similar period. I also found that Glissant was influenced by Aimé Césaire, the poet and politician who held important political positions in Martinique and was one of the founders of the Négritude movement.
What I found strange, however, was the name of the capital, Fort-de-France. The name feels heavily colonial and military in origin, and it made me question how much it represents the mixture and complexity of Caribbean identity that Glissant writes about. If Caribbean identity is shaped through creolisation, relation, and cultural mixture, why do many places still carry the language and structures of colonial power?
Returning to Glissant’s theory, it can sound idealistic unless we also discuss unequal power structures. What happens when one culture dominates the exchange? And who is speaking for whom?
I believe archipelagic thinking requires a degree of equality in power, position, and knowledge in order for genuine exchange to happen. People need to feel safe and respected enough to welcome openness, relation, and dialogue.
At times, I feel that Glissant’s ideas emerge from a context where it is easier to imagine archipelagic relationships, islands existing beside one another, sharing histories of colonialism, displacement, and struggle. However, in reality, relationships between places are rarely equal. If one nation or culture has greater resources, political influence, or economic power, it will inevitably shape the exchange more strongly than the other. Examples such as the UK and Ireland or Indonesia and the Philippines show how unequal power can influence cultural dialogue.
Because of this, I believe there is a responsibility not only to be welcoming and open, but also to avoid placing ourselves in vulnerable positions through a lack of knowledge, experience, or access. On a larger scale, this relates to power, science, dignity, and human rights. Without awareness, exchange can easily become influence or control by those who already hold authority.
How can this be applied to curating? For me, curating should involve both knowledge and empowerment. The curator should develop enough understanding and experience to support the work responsibly, while also empowering artists and contributors so that exchange becomes mutual rather than hierarchical. True dialogue cannot happen when one side only gives and the other only receives.
2- Algorithms and Human Curating
When thinking about algorithms and human curating, I believe that even AI is ultimately shaped by humans. Algorithms are built from data that is created, selected, and controlled by people, often within commercial or business systems. Because of this, algorithms tend to respond to behaviour patterns and visual preferences rather than deeper emotional or ethical understanding.
Algorithms are designed to please, predict, and reinforce engagement. They often agree with existing behaviours rather than challenge them, unless introducing something new becomes commercially useful. They cannot fully understand emotional complexity, vulnerability, or the human condition in a particular moment.
Human curators, however, allow space for emotion, ethics, care, and mistakes. Whether curating an exhibition, a book, a workshop, or a conversation, human curation carries sensitivity toward people and context. At the same time, curating also reflects the organisers themselves, their intentions, politics, feelings, and what they want to communicate through the work.
Curators are often the first audience to encounter an artwork, and that first encounter is important for both the artist and the curator. Curatorial work therefore carries significant responsibility. However, I believe curating should happen alongside the artist and the artwork, not over them. Also, it’s important to first experience the artwork on its own terms before being influenced by the artist’s explanation, while still maintaining a respectful and collaborative relationship.
Reflecting on all of this takes me back through the journey of the last two years, curating spaces, books, workshops, and even this blog. Technology has an important role in making processes easier, but humans still carry the responsibility of shaping narratives and telling stories.
Finally, archipelagic thinking may be an attempt to create ethical relations despite unequal histories and structures. And, from a curatorial perspective, curators must consider the needs of the artwork, including care, health and safety, protection, and the conditions the work requires within a space. Exchange between curator and artist is essential, because curators cannot exist without artists and contributors!
Karema 