This double issue aims to provide an "out of placeness" by looking beyond Western-centricity to a transnational, pluralist horizon, exploring the new imaginaries created by artists and thinkers from the "Global South", from Brazil to the Democratic Republic of Congo.

Featuring: Filipa Ramos and Nav Haq on Jonathas de Andrade, Elvira Espejo Ayca on the Mutual Nurturing of the Arts, Lorraine Leu and Jareh Das on Rosana Paulino, Charles Stankievech on Clarice Lispector and Lygia Clark, Hyunjin Kim and Chloe Ting on Lotus L. Kang, Corina L. Apostol on the Coloniality of Botanical Entanglements, Felix Kalmenson on the Gutta-Percha Trade, Artist Inserts by Marwa Arsanios, and Sinzo Aanza, Maxa Zoller on the Habib Gorghi Workshop, Melissa Gronlund on Feryal Matar, Mi You on Ashkat Akhmedyarov, Baudouin Bikoko on Congolese Photography, Célestin Badibanga ne Mwine on the Emergence of a New Congolese Art, Lotte Arndt on the 7th Lubumbashi Biennale, Ailton Krenak on Ideas to Postpone the End of the World, Interview with Richard Mosse, Ala Roushan and Charles Stankievech on Shaping Atmospheres, Stephanie Bailey on Sin Wai Kin.

Das looks at how artist Rosana Paulino reclaims and redresses the representation of Black women through a process of refazimento (‘remaking’) which upends the notion of racial democracy and equality within Brazilian society. Focusing on two installations – Tacelãs and Parede da Memória – Das examines how hand-work (stitching, moulding, crafts) is turned into memory-work, a form of embodied remembrance against the violent strictures of history and society.

Published twice a year, Afterall, a journal of art, context and enquiry founded in 1998 by Charles Esche and Mark Lewis, offers in-depth analysis of contemporary artists' work, along with essays on art history and critical theory.
Edited by Elisa Adami, Amanda Carneiro, Nav Haq, Mark Lewis, Adeena Mey, Charles Stankievech, and Chloe Ting, Afterall is published by Central Saint Martins in research and publishing partnership with M HKA, Antwerp; the John H. Daniels Faculty of Architecture, Landscape and Design, University of Toronto; NTU Centre for Contemporary Art Singapore; and in association with The University of Chicago Press.