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<\/a>Coelacanth fossil. The oldest fossil record of this creature dates back approximately 360 million years and, since then, the coelacanth is considered to have retained many of its morphological characteristics.<\/p><\/div>\n
<\/a>Preserved specimen of Latimeria chalumnae (Coelacanth) at the Natural History Museum in Vienna, Austria. The specimen was captured on October 18, 1974, near Salimani\/Selimani, on Grande Comore, Comoros Islands.<\/p><\/div>\n
Decades later, towards the end of the 1970s, the phrase \u201cCoelacanth Provokes Tsunami\u201d appeared on walls in Rio de Janeiro, a collective enigma. There was much speculation about its origins (ranging from organized crime to extraterrestrial theories) until it was revealed to be an appropriation of the Japanese series National Kid<\/em>, which appeared on the streets as a pre-internet meme.<\/p>\n The slogan \u201cCoelacanth provokes tsunami,\u201d which appeared on the walls of Rio de Janeiro in the late 1970s, is mentioned in local newspapers.<\/p><\/div>\n Between the living fossil and the urban enigma, the coelacanth makes me envision a curatorial approach that stems not from the promise of the future but from the disruption of time. If a certain idea of \u200b\u200ba modern-colonial future has collapsed or if it has become an integral part of its own catastrophes, perhaps the task of art is not to imagine new, redemptive futures but to reopen buried, spectral, unstable temporalities, thus provoking simultaneities in our experience.<\/p>\n The theoretical practice of curating interests me as a technology, as a set of procedures, mediations, and devices capable of producing thought through encounters and frictions. In contrast to art history that seeks to order meanings and values, curating\u00a0 [1]<\/sup><\/a>See: MARTINON, Jean-Paul (ed.). The Curatorial: A Philosophy of Curating<\/em>. Bloomsbury, 2013. <\/span><\/span><\/a>