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Title:
Curatorial design: A place between

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Summary:
Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial? The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."

Title:
The Funambulist 66: Beyond the global South

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With this issue, the funambulist offers a critique of their own framework of knowledge production. The concept of “Global South” has been turned into a handy word to lazily designate two-thirds of the world’s earthly area and 90% of its population, thus flattening the millions of specificities that characterize this grouping. It also often embodies an entity that only exists dependent on its alter ego, the Global North. As such, it denies any form of agency to the peoples designated as “the South” independently from their relationship to the “North,” as we examine in the case of the war in the eastern Congo (Josaphat Musamba). The South/North binary also designates borders as lines (rather than as regimes operating on both sides of these lines) and essentializes the difference between sides. Can Blackness and Indigeneity in Abya Yala be read without a fundamental split at the settler colonial line that separates North and Central-South Americas (Ashley Ngozi Agbasoga)? Can 20th century Korea’s history show us that the line that currently separates the north (usually presented as part of the Global South) and the south (usually presented as part of the Global North) particularly illustrates the North/South framework’s lack of complexity (Lina Eunji Chang and Andrei-Sergei Kim)? What kind of colonial violence the Non-Aligned Movement invisibilizes in West Papua (Quito Swan), in Kashmir (Choakkeladd) or Western Sahara (Buhari Lehbib) and, in contrast, what kind of solidarities it allowed from Yugoslavia (Dubravka Sekulic and Sanja Horvatincic)? And, crucially, how can we honor the complexity of politics by being able to hold two contradictory truths together as Micol Meghnagi reminds us in the context of Gaddafi’s Libya and Pan-Arabism.

Title:
The Funambulist 66 : Au-delà du sud global

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Dans ce numéro, le Funambuliste propose une critique de leur propre cadre de production des connaissances. Ils ont constaté à quel point le concept de « Sud global » s’est transformé en un terme commode permettant de désigner sans plus de réflexion les deux tiers de la superficie terrestre et 90 % de la population mondiale, effaçant ainsi les millions de spécificités qui caractérisent ce regroupement. Il incarne également souvent une entité qui n’existe qu’en dépendance de son alter ego, le Nord global. À ce titre, il nie toute forme d’agentivité aux peuples désignés comme « le Sud » indépendamment de leur relation au « Nord », comme nous l’examinons dans le cas de la guerre dans l’est du Congo (Josaphat Musamba). Le binarisme Sud/Nord désigne également les frontières comme des lignes (plutôt que comme des régimes opérant de part et d’autre de ces lignes) et essentialise la différence entre les deux côtés. Peut-on appréhender la noirceur et l’autochtonie en Abya Yala sans une scission fondamentale au niveau de la ligne coloniale qui sépare l’Amérique du Nord de l’Amérique centrale et du Sud (Ashley Ngozi Agbasoga) ? L’histoire de la Corée du 20e siècle peut-elle nous montrer que la ligne qui sépare actuellement le Nord (généralement présenté comme faisant partie du Sud global) et le Sud (généralement présenté comme faisant partie du Nord global) illustre particulièrement le manque de complexité du cadre Nord/Sud (Lina Eunji Chang et Andrei-Sergei Kim) ? Quel type de violence coloniale le Mouvement des pays non alignés rend-il invisible en Papouasie occidentale (Quito Swan), au Cachemire (Choakkeladd) ou au Sahara occidental (Buhari Lehbib) et, à l’inverse, quel type de solidarités a-t-il permis depuis la Yougoslavie (Dubravka Sekulic et Sanja Horvatincic) ? Et, surtout, comment pouvons-nous rendre justice à la complexité de nos politiques en étant capables de concilier deux vérités contradictoires, comme nous le rappelle Micol Meghnagi dans le contexte de la Libye de Kadhafi et du panarabisme ? Quant à l’illustration de couverture, il s’agit d’une peinture de l’artiste parisienne guyanaise Johanna Mirabel.