Abstract
This article elaborates a theory of slo curating as a durational practice and methodology. It interrogates concepts such as provenance, chain of relation, collections and conservation that it establishes are part of a colonial episteme undergirding the museum and its exhibitionary practices. Starting from recent digitization projects of museum collections, I analyse artist-led curatorial projects, legal cases and requests for restitution by colonized and Indigenous peoples across the world that challenge long-standing imperial concepts that inform museum studies. Projects by the Rapa Nui, Iqbal Geoffrey, Julie Tolentino, Constantina Zavitsanos and سراب/Saraab (Shahana Rajani and Omer Wasim) are discussed alongside El Paquete Semanal (2008–ongoing) and Exhibition Without Objects (2012–ongoing), foregrounding their alternative theoretical approaches to archives, access, labour, temporality and borders. Slo curating offers a set of curatorial practices and methods that are at the service of people instead of institutions.
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