Abstract/Summary

This research considers how a networked curatorial practice can actively create and provide opportunities and space for artists and curatorial discourse within the digital arts in South Africa, as part, and within the context, of the Global South or Majority World. The research does this by first identifying how the current contemporary zeitgeist in the curatorial domain is increasing its global reach – particularly in the Global South/Majority World. This current zeitgeist is a moving away from a single, centred curatorial voice associated with the traditionally Western status quo towards a more collaborative approach. The need for this approach is becoming more apparent, and stems from an awareness that the largely Western ideological position, and claim to centredness and singularity, can no longer hold its authority or continue to operate without recognising the need to interface and engage with other actors or agents outside of that assumed hegemony. The digital medium lends itself to this, and to a specific curatorial approach which is networked and collaborative. In this research, the term ‘networked curatorial practice’ refers to a methodology and practice that has emerged over at least the past decade within curatorial research and practice. It is a response to a deep sense of urgency and desire by a growing number of curators to create and provide opportunities and space for digital artists to present, display, discuss and develop their work. Within the contemporary South African context, this need is resulting in the creation of a specific practice, which is presented and explored as part of this thesis through four key curatorial projects – Floating Reverie, Covalence, TMRW, and Blue Ocean. The PhD submission comprises two connected components: - curatorial research presented in the form of an online catalogue - this written thesis submission